92-B 

3343 


Illustrated  Books  of  the 
Past  Four  Centuries 

An 

A Record  of  the  Exhibition  Held  in  the  Print  Gallery  of 
The  New  York  Public  Library  in  1919 

By  Frank  Weitenkampf,  L.H.D. 

Chief , Arts  and  Prints  Division 


New  York 

The  New  York  Public  Library 

1920 


Illustrated  Books  of  the 
Past  Four  Centuries 

A Record  of  the  Exhibition  El  eld  in  the  Print  Gallery  of 
T he  New  Y ork  Public  Library  in  1919 


By  Frank  Weitenkampf,  L.H.D. 

Chief , Arts  and.  Prints  Division 


cA~i 


New  York 

The  New  York  Public  Library 

1920 


TABLE  OF  CONTENTS 


Some  Books  on  the  History  of  Book-Illustration  ------ 

Group  of  Books  Showing  the  Taste  of  the  Period  1820-1850  in  England 
and  the  United  States  ----------- 

Maps  as  Elements  of  Book  Decoration  - --  --  --  - 

Italian  Books,  15tii-16th  Centuries  - --  --  --  - 

German  Books,  15th  - 16th  Centuries  - --  --  --  - 

English  Books,  15th  - 16th  Centuries  - 

French  Books,  15tii -16th  Centuries  - --  --  --  - 

French  Books,  18th  Century  - - - 

Line  Engraving  and  Mezzotint,  19th  Century - - 

Etched  Illustration,  19th  Century 

Lithography  in  the  Service  of  Book-Illustration  ------ 

French,  19th  Century  : Wood  Engravings  - ------- 

German,  19th  Century  : Wood  Engravings  ------- 

English,  19th  Century:  Wood  Engravings  ------- 

United  States,  19th  Century  : Wood  Engravings  ------ 

Process  Work  : Painted  Illustration  ---- 

Pen-and-Ink  - --  --  - 

Some  19th  Century  Efforts  in  the  United  States  ro  Produce  the  “Book 
Beautiful”  ------------- 

Some  Principles  of  Harmonious  Book-Making  ------- 

Illustrations  in  Color  - --  -- 

Index  --------------- 


PACE 

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7 

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11 

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15 

17 

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21 

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Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/illustratedbooksOOnewy 


ILLUSTRATED  BOOKS  OF  THE  PAST  FOUR 

CENTURIES 

A RECORD  OF  THE  EXHIBITION  HELD  IN  THE  PRINT 
GALLERY  OF  THE  NEW  YORK  PUBLIC  LIBRARY  IN  1919 


By  Frank  WeitenkaMpf 

Chief,  Arts  and  Prints  Division 


Certain  well-known  artists,  such  as  Forain,  Steinlen,  or  our  own  C.  D.  Gibson,  do  not 
appear  in  the  present  exhibition  because  they  belong  to  the  class  which,  for  want  of  a better 
term,  is  designated  by  the  inclusive  name  “cartoonists,”  and  are  only  incidentally  illustrators. 


THE  present  list  of  exhibits  and  labels  practically  reproduces  the  exhibition  in  text, 
with  the  addition  of  a few  notes.* 

There  are  a certain  number  of  noteworthy  examples  of  book-illustration  whose  inclu- 
sion in  such  an  exhibition  could  not  be  questioned.  On  the  other  hand,  in  not  a few  cases, 
another  book  might  just  as  well  have  been  shown  as  the  one  selected.  That  applies  particu- 
larly to  those  not  of  the  very  first  importance.  Personal  preferences  on  the  one  hand,  and 
possible  lacunae  in  the  collection  of  material  at  one’s  disposal  on  the  other,  may  at  times 
determine  choice.  Similarly,  selection  of  a given  illustration  in  a book  does  not  necessarily 
mean  that  another  one  would  not  have  been  every  bit  as  effective.  Some  of  the  books 
exhibited  clearly  illustrate  not  so  much  fine  book-making  as  what  was  considered  fine 
book-making  in  their  day.  In  the  end,  then,  the  present  annotated  catalogue  is  a record 
of  one  attempt  to  trace  graphically  the  development  of  a branch  of  art  that  has  been  peculiarly 
near  to  the  people  for  over  four  hundred  years.  If  there  is  any  help  in  this  to  anyone 
planning  a similar  display,  so  much  the  better. 

In  the  notes  appended  to  the  titles,  two  things  have  been  especially  kept  in  view : the 
tracing  of  the  development  of  the  art,  and  the  emphasizing  of  the  important  place  that  pure 
line  drawing  has  held  in  the  successful  achievement  of  the  book  harmonious  in  all  its  parts. 
Apart  from  all  that,  the  illustrations  exhibited  here  cover  so  wide  a field  of  racial,  national, 
and  individual  expression,  and  so  long  and  varying  a stretch  of  time,  that  there  is  something 
of  interest  for  every  taste. 

Notes  in  italics  indicate  the  place  at  which  the  book  is  opened  for  display. 


The  names  in  parentheses,  following  titles  in  this  list,  refer  to  works  in  which  the 
books  exhibited  are  noted.  These  works,  and  those  referred  to  (not  by  full  title)  in  quoted 
notes,  are  indicated  as  follows  : 

Bartsch  : Bartsch,  Adam.  Le  peintre  graveur.  Vienne,  1803-21.  21  v. 

Beraldi : Beraldi,  Henri.  Les  graveurs  du  xix'  siecle.  Paris,  1885-92.  12  v. 

Bohatta : Bohatta,  Hanns.  Bibliographic  der  livres  d’heures  (Horae  B.  M.  V.)...des  xv. 
und  xvi.  Jahrhunderts.  Wien,  1909. 

Brivois : Brivois,  Jules.  Guide  de  l’amateur.  Bibliographic  des  ouvrages  illustrees  du  xix* 
siecle,  principalement  des  livres  a gravures  sur  bois.  Paris,  1883. 

Cohen : Cohen,  Henri.  Guide  de  l’amateur  de  livres  a gravures  du  xviii'  siecle.  Sixieme 
edition,  revue,  corrigee  et  considerablement  augmentee  par  Seymour  de  Ricci  Paris 
1912. 

Crane : Crane,  Walter.  Of  the  decorative  illustration  of  books  old  and  new.  London,  1896. 
* An  article  describing  the  exhibition  appeared  in  the  Library’s  Bulletin  for  May,  1919. 

I 5 ] 


6 


THE  NEW  YORK  PUBLIC  LIBRARY 


Hayden : Hayden,  A.  Chats  on  old  prints.  New  York,  1906. 

Lippmann : Lippmann,  F.  Art  of  wood-engraving  in  Italy  in  the  15th  century.  London,  1888. 
Pennell:  Pennell,  J.  Modern  illustration.  London,  1895. 

Pennell  Pen:  Pennell,  J.  Pen  drawing  and  pen  draughtsmen...  London,  1889. 

Perrins:  Italian  book-illustrations  and  early  printing;  a catalogue  of  early  Italian  books  in 
the  library  of  C.  W.  Dyson  Perrins.  [Introduction  by  Alfred  W.  Pollard.]  Oxford, 
1914. 

Pollard : Pollard,  A.  W.  Early  illustrated  books.  London,  1893. 

Pollard  Fine:  Pollard,  A.  W.  Fine  books.  London  [1912]. 

Salaman:  Modern  book  illustrators  and  their  work.  Text  by  M.  C.  Salaman.  London: 
“The  Studio,”  1914. 

Weitenkampf : Weitenkampf,  F.  How  to  appreciate  prints.  New  York,  1916. 

Weitenkampf  Graphic:  Weitenkampf,  F.  American  graphic  art.  New  York,  1912. 

White : White,  Gleeson.  English  illustration.  “The  Sixties” : 1855-70.  Westminster,  1897. 
Further  titles  of  books  on  the  subject  will  be  found  in  the  first  section  of  the  exhibition. 


ORDER  OF  ARRANGEMENT 

The  first  section  is  introductory.  The  second  and  third,  just  as  obviously,  are  of  a general  nature 
and  do  not  fit  easily  into  any  of  the  following  groups.  With  the  fourth  (“Italian  books,  15th  - 16th  cen- 
turies”) begins  the  record,  in  chronological  order,  of  the  historical  development  of  illustration. 


Some  Books  on  the  History  of  Book-Illustration, 
No.  1-14. 

Group  of  Books  Showing  the  Taste  of  the  Period 
1820-1850  in  England  and  the  United  States, 
No.  15-27. 

Maps  as  Elements  of  Book  Decoration,  No.  28-31. 
Italian  Books,  15th -16th  Centuries,  No.  32-44. 
German  Books,  15th  - 16th  Centuries,  No.  45-64. 
English  Books,  15th -16th  Centuries,  No.  65-68. 
French  Books,  15th  - 16th  Centuries,  No.  69-88. 
French  Books,  18th  Century,  No.  89-107. 

Line  Engraving  and  Mezzotint,  19th  Century,  No. 
108-113. 

Etched  Illustration,  19tii  Century,  No.  114-121. 
Lithography  in  the  Service  of  Book-Illustration, 
No.  122-133. 


French,  19th  Century:  Wood  Engravings,  No. 
134-150. 

German,  19th  Century:  Wood  Engravings,  No. 
151-166. 

English,  19th  Century:  Wood  Engravings,  No. 
167-198. 

United  States,  19th  Century:  Wood  Engravings, 
No.  199-213. 

Process  Work:  Painted  Illustration,  No.  214-219. 
Pen-and-Ink,  No.  220-231. 

Some  19th  Century  Efforts  in  the  United  States 
to  Produce  the  “Book  Beautiful,”  No.  232- 
240. 

Some  Principles  of  Harmonious  Book-Making,  ^To. 
241-243. 

Illustrations  in  Color,  No.  244-266. 


Some  Books  on  the  History  of  Book-Illustration 


1.  Kristeller,  Paul.  Early  Florentine 
woodcuts;  with  an  annotated  list  of  Floren- 
tine illustrated  books.  London,  1897.  4°. 

Title-page. 

2.  Perrins,  C.  W.  Dyson.  Italian  book- 
illustrations  and  early  printing;  a catalogue 
of  early  Italian  books  in  the  library  of  C. 
W.  Dyson  Perrins.  Oxford:  University 
Press,  1914.  illus.  4°. 

Page  101.  Franchini  Gafori  Laudensis.  Musice 
actionis.  Liber  primus. 

3.  Massena,  Victor,  4.  prince  d’Essling, 
due  de  Rivoli.  Etudes  sur  l’art  de  la  gra- 
vure sur  bois  a Venise.  Les  livres  a figures 
venitiens  de  la  fin  du  xv°  siecle  et  du  com- 
mencement du  xvi'.  Florence,  1907-10.  4 
v.  illus.  f°. 

2c  partic,  2.  title-page. 

Ire  partic,  2,  Plutarch,  Vitae,  8 June,  1496.  Thesci 
Vita. 


4.  Renouvier,  Jules.  Des  gravures  en  bois 
dans  les  livres  d’Anthoine  Verard.  Paris, 
1859.  8°. 

Title-page. 

5.  Kutschmann,  Th.  Geschichte  der  deut- 
schen  Illustration  vom  ersten  Auftreten  des 
Holzschnitts  bis  auf  die  Gegenwart.  Gos- 
lar  [1899j.  2v.  f°. 

Title-page  of  v.  1. 

6.  Muther,  Richard.  Die  deutsche  Biicher- 

illustration  der  Gothik  und  Friihrennais- 
sance  (1460-1530).  Munchen,  1884.  2v. 

illus.  4°. 

Title-page  of  V.  1. 

7.  Worringer,  Wilhelm.  Die  altdeutsche 
Buchillustration. . . Munchen,  1912.  illus. 
4°.  (Klassische  Ulustratoren.) 

Title-page. 


ILLUSTRATED  BOOKS  OF  THE  PAST  FOIJR  CENTURIES 


7 


History  of  Book-Illustration,  continued. 

8.  Cohen,  Henri.  Guide  de  l’amateur  de 
livres  a gravures  du  xviii'  siecle.  Sixieme 
edition,  revue,  corrigee,  et  considerable- 
ment  augmentee  par  Seymour  de  Ricci. 
Paris,  1912.  8°. 

Title-page  of  5th  edition,  1886,  edited  by  Roger 
Portalis. 

9.  Hausenstein,  Wilhelm.  Rokoko;  fran- 
zosische  und  deutsche  Illustratoren  des 
achtzehnten  Jahrhunderts. . . Munchen, 
1912.  illus.  4°.  (Klassische  Illus^rato- 
ren.) 

Title-page. 

10.  Portalis,  Roger,  baron.  Les  dessina- 
teurs  d’illustrations  au  18*  siecle.  Paris, 
1877.  2 v.  8°. 

Title-page  of  v.  1. 


11.  Brivois,  Jules.  Guide  de  l’amateur. 
Bibliographic  des  ouvrages  illustres  du 
xix'  siecle.  Paris,  1883.  4°. 

Title-page. 

12.  Hardie,  Martin.  English  coloured 
books.  London  [1906j.  4°  (Connoisseur’s 
library.) 

Title-page. 

13.  Bayard,  Emile.  L’illustration  et  les 
illustrateurs. . . Avec  une  preface  par 
Henry  Havard.  Paris,  1898.  4° 

Title-page. 

14.  Pauli,  Gustav.  Das  Bilderbuch. 
(Dekorative  Kunst,  v.  8,  May,  1902,  p.  273.) 

T itle. 


Group  of  Books  Showing  the  Taste  of  the  Period  1820-  1850 
in  England  and  the  United  States 

“Line  engraving. ..  with  the  introduction  of  steel  plates,  about  1820,  and  steel  facing.  .. increased 
in  popularity.  For  several  decades  it  was  extensively  used  for  illustrating.  . . There  were  ‘Byron  Beauties' 
(1836),  ‘Waverley  Gallery'  (1840)  and  similar  collections  prepared  under  the  superintendence  of  Heath, 
or  Finden,  or  some  other  noted  engraver  of  the  day...  There  were  ‘annuals’  galore,  with  frontispieces 
representing  the  pretty,  insipid,  long-curled  beauties  so  admired  in  those  days.  There  were  gift  books, 
‘an  elegant  accession  to  the  drawing-room  table,*  as  one  advertisement  puts  it.  Even  Greenwood  and  Auburn 
cemeteries  were  each  pictured  in  a sumptuous  volume! 

“The  general  run  of  this  work,  smooth,  nice,  ‘highly  finished*  says  the  title  of  ‘Gems  of  Beauty,' 
elementary  in  its  expression  of  obvious  sentiment,  was  an  embodiment  of  mere  and  undiluted  craftsman- 
ship. Commercialism  and  the  desire  for  cheaper  and  more  rapid  methods  naturally  favored  this  attitude, 
and  we  find  an  immense  amount  of  dull  work  as  the  legacy  of  the  first  half  of  the  nineteenth  century.” 


— Weitenkampf,  p.  86-87. 

15.  Talisman  for  1830.  New  York,  1829. 
12°. 

Line  engravings  by  Durand,  Maverick,  Kearney, 
Kelley,  Gimber,  Childs,  Tucker,  reproducing  works 
by  American  painters  — R.  W.  Weir,  H.  Inman,  T. 
S.  Cummings,  S.  F.  B.  Morse,  T.  Cole. 

Engraved  title-page,  by  IVm.  H oogland,  and 
frontispiece  by  Geo.  IV.  Hatch  after  H.  Inman. 

16.  The  Token  and  Atlantic  souvenir  for 
1838.  Edited  by  A.  G.  Goodrich.  Boston, 
1838. 

The  illustrations  are  line  engravings  by  J.  A. 
Adams,  E.  Gallaudet,  J.  Andrews,  C.  Jewett,  J. 
Smillie,  G.  H.  Cushman,  G.  B.  Ellis,  and  J.  Cheney, 
after  J.  G.  Chapman,  G.  S.  Newton,  Healy,  G.  L. 
Brown,  and  Woolaston. 

Engraved  title-page  and  frontispiece,  both  by  John 
Gadsby  Chapman. 

17.  The  Opal.  A pure  gift  for  the  Holy 
Days.  Edited  by  N.  P.  Willis.  Illustrated 
by  J.  G.  Chapman.  New  York,  1844. 

The  illustrations  are  all  in  line  (mainly  etched), 
excepting  the  frontispiece,  which  is  in  mezzotint. 
Title  and  frontispiece. 

18.  The  Gem  of  the  season.  Edited  by 
J.  H.  Agnew.  Twenty  plates  by  Sartain. 
New  York,  1846. 

Mezzotints,  some  after  drawings  by  John  Martin, 
Danby,  W.  Kidd,  but  mostly  after  paintings  by 
Reynolds,  Kauffman,  C.  R.  Leslie,  etc 

Title-page  engraved  on  wood  (Herrick  del.  & sc.) 
and  frontispiece  by  John  Sartain. 


19.  Forget  me  not  for  1849.  Edited  by 
Alfred  A.  Phillips.  New  York. 

The  illustrations  are  mezzotints  by  A.  H.  Ritchie 
after  Parris,  Stephanoff,  J.  Horsley,  Mile.  Boulanger, 
E.  M.  Ward,  A.  Johnston,  F.  Rochard,  and  K. 
Meadows. 

Lithographed  title-page  in  colors,  and  frontispiece. 

20.  The  Magnolia;  or,  Gift-book  of  friend- 
ship. Edited  by  Clara  Arnold.  New  York 
[1855?,.  12°. 

Line  engravings  by  O.  Pelton,  J.  A.  Rolph;  mezzo- 
tints by  H.  W..  Smith,  Sartain. 

Title  (lithographed,  in  color)  and  frontispiece  by 
Pelton. 

21.  Green-Wood  illustrated  in  highly  fin- 
ished line  engravings.  From  drawings 
taken  on  the  spot  by  James  Smillie.  The 
descriptive  notices  by  N.  Cleaveland.  New 
York,  1847.  4°. 

The  plates  were  engraved  in  line  by  James  Smillie, 
R.  Hinshelwood,  John  A.  Rolph,  Rice  & Buttre,  O. 
G.  Hanks,  and  Wm.  Lawrence. 

One  of  the  plates  (“Bayside  Avc.,  Fern  Hill/*  by 
Hiiis he hvood),  paper  cover  of  one  of  the  parts  in 
which  the  work  was  published,  and  binding  in  black 
and  gold. 

22.  Godey’s  Lady’s  Book.  Title  for  1854, 
E.  E.  Tucker  sc.  Vignette  within  ornamen- 
tal border  represents  “Time  in  search  of 
Cupid.” 


8 THE  NEW  YORK 

British  and  American  Taste,  1820  - 50,  cont'd. 

23.  Landscape  illustrations  for  the  Waver- 
ly  novels,  with  descriptions  of  the  views. 
London,  1834. 

The  illustrations  are  line  engravings,  engraved  by 
E.  Fxnden,  after  D.  Roberts,  J.  D.  Harding,  P.  Dewint, 
G.  Cattermole,  C.  Stanfield,  G.  F.  Robson,  W.  Daniell, 
S.  Prout  and  others. 

Title-page  and  plate  “Heart  of  Mid  Lothian.  The 
Tolbooth.  Painted  by  A.  Nasmyth /’  with  text  for 
the  same. 

24.  Jennings’  Landscape  annual  for  1835: 
Tourist  in  Spain,  by  Thomas  Roscoe.  Il- 
lustrated from  drawings  by  David  Roberts. 
London,  1835. 

The  drawings  are  reproduced  in  line-engraving  by 
J.  Fisher,  J.  C.  Armytage,  Freebairn,  etc.,  and  there 
are  also  vignettes  engraved  on  wood. 

Engraved  title-page  by  E.  Goodall  and  frontis- 
piece by  J.  Fisher. 

25.  Pictorial  album;  or,  Cabinet  of  paint- 
ings for  the  year  1837.  Containing  eleven 
designs,  executed  in  oil  colors,  by  G. 
Baxter.  From  the  original  pictures,  with 


PUBLIC  LIBRARY 


illustrations  in  verse  and  prose.  London: 
Chapman  & Hall,  n.  d.  8° 

In  this  book  the  prevailing  taste  for  the  “keep- 
sake” has  enlisted  Baxter’s  services.  The  color- 
plates  reproduce  paintings  by  Miss  Corbaux,  R.  and 
W.  Westall,  S.  Prout,  Miss  Sharpe,  G.  Barnard,  Wm. 
Pickersgill,  G.  Jones,  Mrs.  Seyffarth,  and  J.  Holland. 

Title  after  Miss  F.  Corbaux;  frontispiece  after 
R.  Westall. 

26.  Gems  of  beauty,  displayed  in  a series 
of  highly  finished  engravings  of  various 
subjects.  From  designs  by  E.  T.  Parris, 
G.  Cattermole,  J.  R.  Herbert,  and  E.  Cor- 
bould,  Esqrs.,  engraved  under  the  superin- 
tendence of  Charles  Heath.  With  fanciful 
illustrations  in  verse  by  the  Countess  of 
Blessington.  London,  New  York.  4°. 

The  amethyst,  by  W.  H.  Mote,  after  E.  T.  Parris. 

27.  Beaute  morale  des  jeunes  femmes. 
[By  Sophie  Ulliac-Tremadeure.]  Paris: 
Lefuel  [1829]. 

Colored  line-engravings.  The  ornamental  half- 
titles  for  the  sub-divisions  of  the  book  are  signed 
Montaut  inv.  sculp.  This  is  Gabriel  Xavier  Montaut, 
born  1798.  (See  Beraldi,  v.  10,  p.  109.) 

Agrippine,  femme  de  Germanicus. 


Maps  as  Elements  of  Book  Decoration 


28.  Ptolemy.  Cosmographia.  Rome:  Ar- 
nold Bucking,  1478. 

Prima  Europe  tabula  [Great  Britain], 

“This  remarkable  edition  contains  the  first  printed 
atlas,  and  the  first  collection  of  maps  engraved  on 
copper...  The  inscriptions  were  not  engraved,  but 
were  made  with  a punch  and  mallet.”  — Joseph  Sabin, 
Dictionary  of  books  relating  to  America,  v.  16,  p. 
44-45. 

29.  Mela,  Pomponius.  Cosmographia  siue 
De  situ  orbis.  Venice:  Erhard  Ratdolt,  18 
July  1482.  (Perrins,  p.  29.) 

Woodcut  map  of  the  world. 

30.  Geografia.  Tavole  moderne  di  geo- 
grafia.  Rome:  Antonio  Lafreri,  1570. 

"Discgno  de  Vlsole  di  Cypro.” 

“The  most  important  maps  printed  separately  in 


different  towns  of  Italy,  collected,  in  the  16th 
century.  The  engraved  title  is  probably  the  work 
of  Antonio  Lafreri.”- — A.  E.  Nordenskiold,  Fac- 
simile-atlas, p.  118. 

31.  Bry,  Theodore  de.  America;  pt.  1: 
Admiranda  narratio  fida  tamen  de  com- 
modis  et  incolarum  ritibus. . . Virginse. . .a 
Thomas  Hariot.  Frankfort:  S.  Feyera- 
bend,  1590. 

x iiii.  Illustration:  Crates  lignea  in  qua  pisces 

vstulant.  Also,  map:  America  pars,  nunc  Virginia 
dicta. 

In  the  English  edition,  published  at  Frankfort  in 
the  same  year,  we  are  told,  in  the  epistle  “to  the 
gentle  reader,”  that  the  pictures  in  the  book  were 
drawn  by  John  White,  an  English  artist. 


Italian  Books,  15th -16th  Centuries 
(Woodcuts,  excepting  No.  34) 


32.  Turrecremata,  Johannes  de.  Medita- 
tiones.  Rome,  1473. 

Flight  into  Egypt. 

Second  edition.  The  first  was  printed  at  Rome, 
31  Dec.  1467,  by  Ulrich  Hahn,  and  was  the  first 
illustrated  book  printed  in  Italy  with  movable  type, 
and  the  first  book  printed  in  Italy  in  which  wood- 
engraving was  employed.  The  third  edition,  1484, 
is  listed  in  Perrins,  p.  27-28,  where  we  are  informed 
that  it  includes  “33  out  of  34  of  the  original  wood- 
cuts.  . . The  woodcuts  are  based  on  certain  frescoes, 
no  longer  in  existence,  which  by  Cardinal  [Turre- 
cremata’s]  order  had  been  painted  on  the  walls  of 
tile  Church  of  Santa  Maria  de  Minerva  at  Rome, 
and  they  retain  a large  pictorial  effectiveness  despite 
the  clumsy  coarseness  with  which  they  are  cut. 
Strength  or  grace  may  still  be  traced  in  a few  in- 
dividual figures.  . .but  throughout  the  bonk  the  un- 
trained cutter  has  played  havoc  with  his  designs.” 

“The  woodcuts. .. in  their  coarse  outlines,  and  the 


angular  and  awkward  rendering  of  the  faces. . .evince 
the  utter  incapability  of  the  engraver  to  deal  with 
the  finer  elements  of  the  design.”  — Lippmann,  p.  9. 

“The  work.  . .served  as  a model  for  the  metal  cuts 
of  Neumeister’s  editions  at  Mainz  and  elsewhere, 
and  for  the  small  neat  woodcuts  of  one  by  Plannck.” 
— Pollard  Fine,  p.  123. 

33.  Valturius,  Robertus.  De  re  militari. 
Verona:  Boninus  de  Boninis,  13  February, 
1483.  (Perrins,  p.26-27.) 

Lent  by  The  Pierpont  Morgan  Library. 

Liber  x,  leaf  x iiii. 

“Of  the  96  woodcuts  in  this  edition  95  are  copied 
with  some  reduction  from  those  of  the  1472  edition, 
and  one  (sig.  &lb)  of  soldiers  in  a tent  is  new.  This 
was  afterwards  used  in  Antonio  Cornazano’s  Arte 
bellissima  del  arte  militar,  Venice,  C.  de  Pensis, 
1493.”  — Perrins,  p.  27. 

The  original  edition,  1472,  was  the  second  book 


ILLUSTRATED  BOOKS  OF  THE  PAST  FOUR  CENTURIES 


9 


Italian  Books,  15th -16tJi  Centuries,  cont’d. 

printed  at  Verona,  and  the  second  illustrated  book 
printed  in  Italy.  Of  it,  Pollard  says,  p.  87-88:  “In 
this  fine  book,  printed  by  John  of  Verona  with 
all  the  care  which  marks  the  northern  Italian  work 
of  the  time,  there  are  eighty-two  woodcuts  repre- 
senting various  military  operations  and  engines, 
drawn  in  firm  and  graceful  outline,  which  could 
hardly  be  bettered.  The  designs  for  these  cuts  have 
been  attributed  to  the  artist  Matteo  de’  Pasti.” 

Lippmann,  p.  56-58,  says: 

“As  soon  as  the  technique  of  the  new  art  had 
been  mastered  by  the  Italian  designers  and  block- 
cutters,  they  entered  upon  its  practice  with  inde- 
pendent energy,  and  stamped  their  work  with  a 
distinctive  national  style.  Even  the  German  en- 
gravers in  Italy... fell  almost  completely  into  the 
fashion  of  the  country  they  laboured  in... 

“The  earliest  North-Italian  woodcuts  to  which  a 
date  is  attached  were  executed  in  that  pure  outline- 
style.  They  are  the  illustrations.  . .in  Valturio’s  book 
De  re  militari...  The  cuts  are  for  the  most  part 
mere  professional  delineations  of  military  engines; 
but  the  designs  are  so  clear,  and  the  lines  drawn  with 
such  a bold  and  firm  hand,  that  they  strongly  remind 
us  of  Lionardo’s  masterly  sketches  of  similar  objects. 
There  is  equally  high  quality  in  the  occasional  human 
figures.  . .and  in  the  figures  of  the  animals...  The 
engraver’s  work,  also,  is  of  such  perfect  execution 
that  the  original  drawing  can  have  lost  nothing  of 
its  merit  in  his  hands.  The  difficulties  with  which 
the  old  system  of  cutting  the  block  lengthwise  had 
to  contend,  in  the  reproduction  of  simple  straight 
lines,  seem  to  have  had  no  existence  for  the  artists 
who  worked  on  the  Valturio.  The  lines  fall  every- 
where exactly  into  their  true  perspective;  the  cor- 
ners form  correct  angles  sharply  and  clearly  drawn. 
When  we  reflect  upon  the  position  which  the  tech- 
nique of  wood-engraving  occupied  in  all  countries 
about  the  year  1472,  we  must  recognise  perforce 
that  this  book  is  one  of  the  most  noteworthy  pro- 
ductions of  an  age  astonishingly  fertile  in  new  in- 
ventions.” 

34.  Dante.  Divina  Commedia.  Florence: 
Niccolo  di  Lorenzo,  30  August,  1481.  (Per- 
rins, p.  18.) 

Lent  by  The  Pierpont  Morgan  Library. 

Leaf  h Hi,  end  of  canto  11,  illustration  for  canto  12. 

Illustrated  with  line  engravings  on  copper;  the 
only  book  shown  in  this  group  which  is  not  illustrated 
with  wood  engraving. 

“Niccolo  di  Lorenzo,  in  1477,  issued  the  Monte 
Santo  di  Dio  of  Antonio  Bettini  with  three  illustra- 
tions engraved  on  copper,  the  first  use  of  this  form 
of  decoration  in  the  whole  edition  of  any  printed 
book...  Niccolo  conceived  the  ambitious  design  of 
illustrating  the  Divina  Commedia...  Plates  were 
prepared  for  the  first  nineteen  cantos,  based  on 
portions  of  the  designs  of  Botticelli,  and  usually 
said,  though  on  no  strong  evidence,  to  have  been 
executed  by  Baccio  Baldini...  The  double  printing 
of  letterpress  and  engravings  proved  too  burdensome. 
In  most  copies  only  the  first  and  second  plates  are 
printed  on  the  book’s  own  paper,  the  others  being 
either  omitted  altogether  or  separately  printed  and 
pasted  in  their  places.”  — Perrins,  p.  18. 

“In  many  of  these  prints... the  design ...  suggests 
the  growing  influence  of  Botticelli...  Most  of  the 
prints  in  the  Fine  Manner ...  show ...  repetitions  of 
Finiguerra  designs.  . . Almost  the  last  prints  in  the 
manner  of  this  school,  and  distinctly  inferior  to  the 
preceding  in  technical  power,  are  the  illustrations 
to  Antonio  Bettini’s  Monte  Sancto  di  Dio,  1477,  and 
Landino’s  Dante  of  1481.”  — A.  M.  Hind,  A short 
history  of  engraving  and  etching,  p.  47-49. 

35.  Aesopus.  Vita  et  fabulae.  Naples: 
[the  “Germani  fidelissimi”  fori  Francesco 
Tuppo,  Feb.  13,  1485.  (Perrins,  p.  30-32.) 

De  apro  et  asello  fabula  xii. 

“Fables  of  Aesop.  . . 1485 . . . Adorned  with  eighty- 
seven  large  woodcuts ...  marked  by  strong  individu- 
ality of  treatment.  The  figures.  .. are  powerfully 
drawn,  their  attitudes  and  movements  lifelike;  and 


the  human  heads  are  massive,  with  a striking  and 
energetic  expressiveness  in  the  features.  The  out- 
lines are  firm  and  sharp;  there  is  considerable  mas- 
tery of  perspective  in  the  disposition  and  the  graded 
shading  of  the  backgrounds.  . . Every  one  of  the 
designs  is  surrounded  by  a rich  border  composed  of 
separate  pieces  of  frame  work  which  are  frequently 
repeated  in  various  combinations.  The  upper  portion 
in  each  is  an  arch  filled  in  with  ornamental  details 
in  white  upon  a black  ground.  . .enclosing  representa- 
tions of  the  triumphs  of  Hercules  executed  with 
remarkable  power...  The  peculiar  foreign  look  of 
those  illustrations,  and  especially  of  the  decorative 
borders,  appears  to  result  from  the  mixture  of  diverse 
artistic  elements.  . . There  is  no  affinity  whatever 
between  the  Aesop  illustrations  and  the  woodcuts 
which  appear  in  any  other  Italian  book  of  that 
period...  Technically  considered,  those  woodcuts 
hold  a position  of  commanding  importance  amongst 
the  works  of  their  epoch.  . . -There  is  no  trace  of  the 
uncouthness  which  usually  disfigured  wood-engraving 
before  the  last  decade  of  the  fifteenth  century.”  — 
Lippmann,  p.  14-15. 

“The  Aesop  cuts  stand  out  as  among  the  most 
individual  of  Italian  book-illustrations,  their  strongly 
marked  features  remaining  impressive,  whether  they 
are  liked  or  disliked.”  — Perrins,  p.  x. 

36.  Dante.  Divina  Commedia.  Brescia: 
Boninus  de  Boninis,  31  May,  1487.  (Per- 
rins, p.  36,  no.  42.) 

Lent  by  The  Pierpont  Morgan  Library. 

Canto  7. 

“With  68  full-page  woodcuts  in  black-ground  bor- 
ders, this  is  thus  the  most  pretentiously  illustrated 
Dante  of  the  15th  century.  As  in  other  editions  the 
designs  are  rendered  monotonous  by  the  repetition 
of  the  two  figures  of  Dante  and  his  guide,  not  only 
in  each  cut,  but  sometimes  in  different  parts  of  the 
same  cut.  Many  of  the  designs,  however,  were 
evidently  very  vigorously  sketched,  but  the  cutting 
is  never  good  and  often  wretched.”  — Perrins,  p.  36. 

37.  Bergomensis,  Jacobus  Philippi  [Fore- 
stij.  Supplementum  Chronicarum.  Ven- 
ice: Bernardinus  Benalius,  15  December, 
1486.  (Perrins,  p.  35-36,  no.  41.) 

Leaf  103,  showing  small  cuts  of  cities. 

“With  large  woodcuts  of  the  Creation,  Expulsion 
from  Paradise,  and  Death  of  Abel,  copied  from  the 
Low-German  Bibles  printed  by  H.  Quentcll  at  Cologne 
about  1480,  and  numerous  small  cuts  of  cities,  and 
ornamental  capitals.”  — Perrins,  p.  36. 

“The ..  .Supplementum  Chronicarum  of  Giovanni 
Philippo  Foresti  of  Bergamo,  with  numerous  out- 
line w'oodcuts  of  cities,  for  the  most  part  purely 
imaginary  and  conventional,  the  same  cuts  being 
used  over  and  over  aga'in  for  different  places.”  — 
Pollard,  p.  94. 

In  this  book  appears  the  use  of  solid  blacks  so 
characteristic  of  the  Italian  work  and  utilized  also 
— with,  of  course,  different  racial  and  individual 
expression  — by  the  Japanese  print-makers  and  by 
nineteenth  century  illustrators  such  as  Aubrey 
Beardsley. 

38.  (Same.)  Venice,  1503. 

z 2. 

“The  Supplementum  Chronicarum  was  re-issued 
several  times.  . .and  changes  were  constantly  made 
in  the  cuts.”  — Pollard  Fine,  p.  126. 

39.  Bonaventura.  Devote  meditatione 
sopra  la  Passione  del  nostro  Signore. 
Venice:  Math,  di  Codecha  da  Parma,  26 
April,  1490.  (Copinger,  n,  1188.) 

Lent  by  The  Pierpont  Morgan  Library. 

First  page:  Incojninciano  le  denote  meditatione. 

There  are  fourteen  cuts  in  this  edition.  As  to 
the  cuts  in  the  editions  of  Florence  (about  1496)  and 
Venice  (1497),  see:  Perrins,  p.  106,  108.  Pollard, 
in  “Fine  books,”  p.  138,  speaks  of  two  undated 


10 


THE  NEW  YORK  PUBLIC  LIBRARY 


Italian  Books,  15th -16th  Centuries,  confd. 

editions  and  the  probable  influence  of  the  illustrations 
in  the  Venice  edition  of  1489. 

“Bonaventura. . . Venice,  Matteo  Codeca,  27 
February,  1489...  The  second  illustrated  edition 
. . . and  the  first  with  illustrations  specially  cut  for  it, 
the  large  woodcuts  used  in  the  edition  of  1487 
(Hieronymo*  di  Sancti  & Cornelio  compagni)  having 
been  designed  much  earlier  for  a blockbook  of  the 
Passion.  The  cuts  in  the  edition  of  1489  are  by  the 
same  two  cutters  who  worked  on  the  Malermi  Bible 
of  the  next  year.  One  of  them  attempts  shading, 
and  his  figures,  more  especially  the  faces,  are  blurred 
and  indistinct;  the  other  works  in  very  clean-cut 
outline,  and,  though  his  knife  occasionally  slips,  is 
much  the  more  successful.  These  woodcuts  reappear 
in  the  same  printer’s  editions  of  26  April,  1490,  10 
March,  1492,  11  October,  1494,  and  were  imitated  at 
Florence.”  — - Perrins,  p.  44-45. 

40.  Ketham,  Johannes.  Fasciculo  de  medi- 
cina.  Venice:  Joh.  and  Greg,  de  Gregoriis, 
5 February,  1493.  (Perrins,  p.  60,  no.  63.) 

Lent  by  The  Pierpont  Morgan  Library. 

c ii:  Cut  of  physician  at  bedside  of  plague -stricken 

Patie  nt. 

“The  picture  of  the  Dissection .has  the  interest 
of  being  printed  in  several  colours.  Erhard  Ratdolt 
had  made  some  experiments  in  colour-printing  in 
the  astronomical  books  which  he  printed  at  Venice. . . 
In  1490  a Venetian  printer,  Johann  Herzog,  had 
illustrated  the  De  Heredibus  of  Johannes  Crispus  de 
Montibus  with  a genealogical  tree.  . .printed  in  br<Dwn, 
green,  and  red.  But  the  dissection  in  the  Fascicolo 
di  medicina  was  the  most  elaborate  of  the  Venetian 
experiments  in  colour-printing  and  apparently  also 
the  last.”  — Pollard  Fine,  p.  130. 

“If... we  find  it  difficult  to  understand  why, 
in  a purely  medical  treatise,  such  illustrations  were 
inserted,  as  that  of  the  lecturing  physician.  . .we 
must. . .endeavour  to  place  ourselves  in  the  position 
of  the  artist’s  contemporaries.  It  was  difficult  for 
men  of  average  education  and  intellect,  at  that  time, 
to  conceive  abstract  ideas  by  the  process  of  mere 
logical  deduction;  and  they  welcomed  therefore  the 
graphic  aid  which  translated  the  word  into  visible 
form . . . 

“The  design  is  undoubtedly  by  an  artist  nearly 
related  to  Gentile  Bellini.  The  figures  are... drawn 
with  much  skill.  There  is  a statuesque  ease  in  the 
arrangement  of  the  compositions,  which  gives  them 
an  appearance  of  relief,  and  harmonises  admirably 
with  the  simple  and  firm  outline-drawing.”  — Lipp- 
mann,  p.  100-103. 

41.  Biblia  vulgare  historiata.  [Translated 
by  Niccolo  Mallermi.)  Venice,  15  Oct. 
1490. 

Lent  by  Mr.  Henry  E.  Huntington. 

CL:  Esdra  ii. 

“The  first  and  most  important  of  the  Venetian 
folios  illustrated  with  small  column  cuts...  Many 
of  the  cuts  are  signed  which  is  now  taken  as 
standing  not  for  the  artist,  but  for  a firm  of  woodcut 
makers.”  — Perrins,  p.  49-51. 

“The  illustrations  are  on  a very  lavish  scale, 
numbering  in  all  three  hundred  and  eighty-three,  of 
which  a few  arc  duplicates,  while  about  a fourth  are 
adapted  in  miniature  from  the  cuts  in  the  Cologne 
Bible,  which  formed  a model  for  so  many  other 
editions.”  — Pollard,  p.  98-99. 

“in  the  case  of  tile  Malermi  Bible  of  1490  work- 
men of  very  varying  skill  were  employed,  some  of 
the  illustrations  to  the  Gospels  being  emptied  of  all 
delight  by  the  rudeness  of  their  cutting.  Where 
the  designer  and  the  cutter  are  both  at  their  best 
the  result  is  nearly  perfect  of  its  kind,  and  it  is  curi- 
ous to  think  that  some  of  these  dainty  little  blocks 
were  imitated  from  the  large,  heavy  woodcuts  in 
the  Cologne  Bibles  printed  by  Quentell  some  ten 
years  earlier.  In  the  rival  Bible  of  1493  the  best 
cuts  are  not  so  good,  nor  the  worst  so  bad  as  in  the 
original  edition  of  1490.”  — Pollard  Fine,  p.  128. 

See  also  note  (Perrins,  p.  44-45)  to  no.  39. 


42.  Colonna,  Francesco  de.  Hypneroto- 
machia  Poliphili.  Venice:  Aldus  Manutius, 
December,  1499.  (Perrins,  p.  120-123,  no. 
139.) 

Opened  at  a vi,  showing  the  well-known  cut  of 
the  man  kneeling  at  the  side  of  a stream. 

“The  Strife  of  Love  in  a Dream,  as  its  Eliza- 
bethan translator  prettily  rendered  the  title.  ..is  an 
archaeological  love-story...  Poliphilo,  The  lover  of 
Polia,’  falls  asleep,  and  in  his  dream  ‘sees  many 
antiquities,  worthy  of  memory  and  describes  them 
in  appropriate  terms  with  elegant  style’...  As  re- 
gards the  wonderful  illustrations  the  signature  .b. 
on  the  third  has  led  to  their  being  attributed  to 
numerous  celebrated  artists,  but  it  is  fairly  well 
recognized  that  celebrated  artists  in  Italy  did  not 
concern  themselves  with  bookwork,  and  that  .b.  is 
probably  the  signature  of  the  woodcutters’  workshop.” 

- — Perrins,  p'.  121-123. 

“These  designs.  . .show  what  remarkable  artistic 
taste  there  was  even  in  the  inferior  masters  of 
Italy.  ‘They  are,’  says  Sidney  Colvin,  ‘without  their 
like  in  the  history  of  wood-cutting. . . The  utmost 
of  imaginative  naivett  is  combined  with  all  that  is 
needed  of  artistic  accomplishment,  and  in  their  sim- 
plicity [they]  are  in  the  best  instances  of  a noble 
composition,  a masculine  firmness,  a delicate  vigor 
and  graceful  tenderness  in  the  midst  of  luxurious  or 
even  licentious  fancy.’  ” — G.  E.  Woodberry,  A his- 
tory of  wood-engraving,  p.  80-81. 

“The  numerous  woodcuts  mark  the  highest  point 
of  development  reached  by  the  art  of  wood-engraving 
at  Venice,  in  the  fifteenth  century.  It  is  true  that  the 
artist.  . .was  not  in  every  instance  capable  of  trans- 
lating into  adequate  pictorial  form,  the  ideas  pre- 
sented by  the  author.  He  lacked  the  necessary 
vividness  of  imagination,  and  the  power  of  inde- 
pendent conception.  . . For  all  that,  he  succeeded  in 
creating  a series  of  the  most  delightful  and  charming 
pictures,  delicately  designed,  and  thoroughly  ful- 
filling the  conditions  of  outline-work.”  — Lippmann. 
p.  123-124. 

43.  Hypnerotomachie,  ou,  Discours  du 
songe  de  Poliphile.  Paris:  pour  Jaques 
Kerver,  1561.  f°. 

First  published  in  1546.  Placed  here  (instead  of 
with  French  books)  for  the  purpose  of  comparison, 
as  indicated  by  the  notes  which  follow. 

Same  cut  shown  as  in  the  Italian  edition  (no.  42). 

“In  [1546]  there  appeared  at  Paris  from  the  press 
of  Jacques  Kerver  a French  translation  of  the  Hyp - 
nerotomachia  by  Jean  Martin.  This  is  one  of  the 
most  interesting  cases  of  the  rehandling  of  wood- 
cuts,  the  arrangement  of  the  original  designs  being 
closely  followed,  while  the  tone  is  completely  changed 
by  the  substitution  of  the  tall,  rather  thin  figures 
which  had  become  fashionable  in  French  woodcuts 
for  the  short  and  rather  plump  ones  of  the  Venetian 
edition,  and  by  similar  changes  in  the  treatment  of 
landscape.”  — Pollard  Fine,  p.  201. 

“The  contrast  is  striking,  and  emphasizes  the 
effect  of  national  outlook  and  development  of  char- 
acter. In  the  Italian  designs,  directness,  simple 
beauty,  and  vigor  are  the  salient  elements;  in  the 
French  ones,  elegance,  decorative  grace,  realism  and 
dramatic  action.”  — Arts  and  decoration,  Dec.,  1918. 

44.  Missale. . .ordinis  Uallisumbrose.  Ven- 
ice: L.  A.  Giunta,  4 December,  1503.  (Mas- 
sena.  Les  missels  imprimes  a Venise  de 
1481  a 1600.  Paris,  1896,  p.  292-295.) 

Known  as  the  Vallumbrosa  Missal. 

Lent  by  The  Pierpont  Morgan  Library. 

clxxxiiii:  "Bencdicti  abbatis.” 

“In  the  dedicatory  epistle  Giunta  says  that  of  the 
very  numerous  works  which  he  had  chused  to  be 
printed  up  to  that  time,  none  gave  him  more  satis- 
faction than  this  one...  This  superb  missal,  which 
M.  Ales  calls  ‘Giunta’s  masterpiece/  indeed  yields 
in  nothing  to  the  Miss.  Cisterciensiinn,  1503,  and 
the  Miss.  Carmelitarum,  1514,  where  one  finds  again 
the  characters  of  a perfect  clearness,  the  same  orna- 


ILLUSTRATED  BOOKS  OF  THE  PAST  FOUR  CENTURIES 


11 


Italian  Books,  15th  - 16th  Centuries,  cont’d. 

mented  initials  and  those  large  architectural  borders 
of  so  fine  a style.”  — Massena,  Missels,  1896,  p.  295. 


“A  book  may  be  very  profusely  and  even  very 
judiciously  illustrated  without  being  much  the  better 
for  it  decoratively . . . In  this  matter  we  have  much 
to  learn  from  the  old  printers,  in  whose  books  paper, 
type,  illustrations,  initial  letters,  and  borders  were 
all  so  planned  as  to  form  a harmonious  whole.”  — 
Pollard,  p.  v-vi. 

“The  good  taste  of  the  old  book-illustrators  told 
them  that  for  printed  books  simple  outline  drawing, 
light  and  sketchy  in  execution,  was  more  suitable 
than  the  heavy  and  more  minute  work  of  the  illu- 


minated manuscript.  In  Italian  illustrated  books  we 
rarely  find  the  woodcuts  coloured,  nor  can  we  trace 
any  relation,  either  in  design  or  in  execution,  be- 
tween woodcuts  and  the  miniatures  of  the  same  sub- 
jects in  manuscripts.  This  is  an  important  point, 
when  we  remember  that  the  woodcuts  in  printed 
books  were  the  direct  successors  of  the  illuminations 
in  manuscripts. 

“The  secret  of  the  charm  in  these  old  illustrations 
lies,  I think,  not  only  in  the  simplicity  of  their  exe- 
cution, but  in  the  absence  of  pretension  in  the 
design.  They  generalize  the  scene  they  had  to  repre- 
sent as  much  as  possible;  they  do  not  attempt  minute 
portrayal  of  some  special  event  told  in  the  text... 
For  this  reason  these  woodcuts  could,  without  in- 
juring the  artistic  impression,  be  used  for  many 
similar  scenes.”  — P.  Kristeller,  Early  Florentine 
woodcuts,  p.  x-xi. 


German  Books,  15th-16th  Centuries 

(Wood  Engravings) 


“The  earliest  typographical  work  containing  woodcuts  of  figures  illustrative  of  the  text  appeared  in 
the  middle  of  the  fifteenth  century  in  Germany.  The  growth  of  printing  and  its  universal  extension  is 
bound  up  with  the  use  of  woodcuts  in  early  printed  volumes,  and  they  held  their  own  up  to  the  last  decade 
of  the  nineteenth  century,  when  the  process  block  drove  them  from  the  field.”  — Arthur  Hayden,  Chats 
on  old  prints,  p.  80. 


45.  Ars  moriendi.  [Block  book.]  About 
1460-70. 

First  cut. 

“A  block-book  is  a book  printed  wholly  from 
carved  blocks  of  wood.  Such  volumes  usually  consist 
of  pictorial  matter  only;  if  any  text  is  added  in  illus- 
tration it  likewise  is  carved  upon  the  wood-block,  and 
not  put  together  with  moveable  types.  The  whole  of 
any  one  page,  sometimes  the  whole  of  two  pages,  is 
printed  from  a single  block  of  wood.”  — W.  M.  Con- 
way, The  woodcutters  of  the  Netherlands,  p.  2. 

“Ars  Moriendi.  Twenty-four  leaves,  two  contain- 
ing a preface,  and  the  remaining  twenty-two  eleven 
pictures  and  eleven  pages  of  explanatory  letterpress 
facing  them,  showing  the  temptations  to  which  the 
dying  are  exposed,  and  the  good  inspirations  by 
which  they  may  be  resisted,  and,  lastly,  the  final 
agony.”  — Pollard  Fine,  p.  25. 

Early  and  crude  produciions  such  as  the  block- 
book  Ars  Moriendi  (1460-70),  are  quite  touching  in 
their  uncouth  helplessness.  Yet  even  here,  and  cer- 
tainly but  little  later,  there  is  discernible  a healthy 
vigor,  a freshness  of  vision  not  always  preserved  in 
its  pristine  strength  as  technique,  in  the  following 
century,  advanced  to  a noteworthy  degree  of  facility 
and  sophistication.  Indeed,  the  tracing  of  that  de- 
velopment forms  an  important  element  in  the  appre- 
ciation and  enjoyment  of  an  exhibition  of  illustrated 
books  such  as  this. 

46.  Breydenbach,  Bernhard  von.  Pere- 
grinationes  in  Terram  Sanctam.  Mainz: 
Erhard  Reuwich,  11  Feb.,  1486. 

Illustrated  by  Erhard  Reuwich. 

See:  “Bernard  von  Breydenbach  and  his  journey 
to  the  Holy  Land,  1483-4.  A Bibliography.  Com- 
piled by  Hugh  Wm.  Davies.”  London,  1911. 

Frontispiece. 

“With  the  Mainz  Breidenbach  we  feel  that  we 
have  passed  away  from  the  naive  craftsmanship  of 
the  earliest  illustrated  books  into  a region  of  con- 
scious art.”  — Pollard  Fine,  p.  115-116. 

“When  Bernhard  von  Breydenbach  went  on  his 
pilgrimage  in  1483  he  took  with  him  the  painter 
Erhard  Reuwick,  and  whije  Breydenbach  made  notes 
of  their  adventures,  Reuwick  sketched  the  inhabitants 
of  Palestine,  and  drew  wonderful  maps  of  the  places 
they  visited...  Reuwick. . .took  so  active  a part  in 
passing  the  work  through  the  press  that,  though  the 
types  used  in  it  apparently  belonged  to  Schoeffer,  he 
is  spoken  of  as  its  printer.  The  book,  as  its  magnifi- 


cence deserved,  was  issued  on  vellum  as  well  as  on 
paper. . . 

“Alike  in  its  inception  and  execution  [it]  stands 
on  a little  pinnacle  by  itself,  and  the  next  important 
books,  Stephan’s  Schatzbehalter  and  Schedel’s  Liber 
Chronicarum,  are  in  every  respect  inferior,  even 
the  unsurpassed  profusion  of  the  woodcuts  in  the 
latter  being  almost  a sin  against  good  taste.”  — Pol- 
lard, p.  60,  63. 

The  book  is  more  modern  than  the  famous 
“Nuremberg  Chronicle”  which  came  seven  years  later. 
Indeed,  Reuwich,  the  artist,  works  a bit  in  the  spirit 
of  the  nineteenth  century  illustrator,  with  facile 
attainment,  — glibly,  one  might  almost  say.  In  one 
of  the  cuts  a foot  projecting  beyond  the  border-line 
forms  an  early  instance  of  the  use  of  a device  applied 
in  recent  years,  when  one  has  frequently  seen  this 
illogical  projection  of  portions  of  the  picture  beyond 
its  frame.  The  flexible  conscience  which  enabled 
him  to  include  a unicorn  in  a group  of  animals  which 
he  had  “seen  in  the  Holy  Land”  is  perhaps  different 
by  a shade  or  so  from  the  point  of  view  shown  in 
the  use  of  the  same  portrait  cut  to  personify  various 
individuals,  or  the  same  city  view  to  stand  for  various 
places,  as  we  find  it  in  the  “Nuremberg  Chronicle,” 
or  in  the  Italian  “Supplementum  Chronicarum”  of 
Bergomensis. 

The  essential  point  is  that  even  though  the  too 
profusely  illustrated  “Chronicle”  contrasts  not  quite 
favorably  with  the  taste  shown  in  the  “Peregrinatio,” 
the  drawings  by  Pleydenwurff  and  Wohlgemuth  for 
the  later  book  somehow  show  a massive  strength 
that  brings  the  words  “painter  quality”  to  mind,  and 
accentuates,  by  contrast,  a certain  smartness  in  the 
other  book. 

47.  Schatzbehalter.  Nuremberg:  Anton 
Koberger,  1491. 

p it:  Christ  healing  the  sick. 

“The  Schatzbehalter,  of  which  the  text  is  ascribed 
to  Stephanus  Fridelinus,  a Nuremberg  Franciscan, 
is  one  of  several  examples  of  a too  ambitious  scheme 
of  decoration  perforce  abandoned  for  lack  either 
of  time  or  of  money.  In  the  first  half  there  are 
ninety-two  different  full-page  woodcuts,  mostly  illus- 
trating Scripture  history...;  in  the  second  half  the 
number  is  no  more  than  two.  The  pictures  executed 
before  the  scheme  was  thus  cut  down  vary  greatly 
in  quality,  from  the  fine  design  of  Christ  kneeling 
before  the  throne  of  the  Father  and  pointing  to  the 
emblems  of  the  Passion,  which  prepares  us  for  the 
work  which  Durer,  who  was  then  being  trained  in 
Wolgemut’s  studio,  was  soon  to  execute,  down  to 


12 


THE  NEW  YORK  PUBLIC  LIBRARY 


German  Books,  15th  -16th  Centuries,  cont’d. 

the  amusing  but  uninspired  craftsmanship  of  the 
picture  of  Solomon  and  a selection  of  his  wives 
banqueting.”  — Pollard  Fine,  p.  116-117. 

“Two  important  books...  The  woodcuts  for  the 
‘Schatzbehalter’  and  the  two  thousand  cuts  for  the 
Nuremberg  ‘Chronicle’  were  designed  and  executed 
in  the  workshop  of  Wolgemut,  where  young  Diirer 
was  apprenticed  about  that  time.  Here  again  we 
have  multitudinous  examples  of  painter-illustrations.” 
■ — E.  H.  Richter,  in  Print-collector’s  quarterly,  v.  S, 
1915,  p.  356. 

“When  typography  was  invented. . .wood-engrav- 
ing had  long  been  practised  in  Germany  as  a method 
of  multiplying  Bible-pictures  for  the  people.  Its 
application  was  not  confined  to  sacred  subjects  only; 
incidents  of  every-day  life  were  illustrated  likewise, 
and  a ready  vehicle  was  furnished  for  the  dissemina- 
tion of  lampoon  and  caricature.  In  this  art,  which 
had  become  so  familiar  to  the  popular  mind,  and 
which  was  indeed  one  of  the  chief  means  of  convey- 
ing religious  instruction  to  the  multitude,  the  new 
craft  of  book-printing  found  a useful  helpmate.”  — 
Lippmann,  p.  1. 

48.  Schedel,  Hartmann.  Liber  chronica- 
rum.  Nuremberg:  Anton  Koberger,  1493. 

Folium  xcv. 

The  “world  chronicle”  of  Dr.  Schedel,  commonly 
known  as  the  “Nuremberg  Chronicle,”  with  numerous 
illustrations  by  Michael  Wohlgemut,  Duerer’s  master, 
and  Wilhelm  Pleydenwurff. 

“For  the  Liber  Chronicarum  plans  had  been  much 
more  carefully  worked  out  than  for  the  Schatzbe- 
halter,  and  by  studying  economy  a seemingly  profuse 
system  of  illustration  was  maintained  to  the  end. 
Sydney  Cockerell  has  evolved  the  exact  figures.  The 
large,  double-page  cuts  of  twenty-six  cities,  for  many 
of  which  sketches  must  have  been  specially  obtained, 
and  not  one  of  these  is  used  a second  time;  but 
twenty-two  other  large  cuts  of  cities  and  countries 
were  made  to  serve  for  sixty-nine  different  subjects, 
and  when  we  come  to  figures  of  emperors,  kings, 
and  popes,  we  find  ninety-six  blocks  used  598  times 
Mr.  Cockerell’s  totals  are  1,809  pictures  printed 
from  645  different  blocks.  Both  in  the  designs  and 
their  execution  there  is  great  inequality,  but  no 
single  picture  can  compare  with  that  of  Christ  kneel- 
ing before  the  Father  in  the  Schatzbehalter,  and 
both  books,  fine  as  their  best  work  is,  must  be  re- 
garded rather  as  the  crown  of  German  medieval 
craftsmanship  in  bookbuilding  than  as  belonging  to 
the  period  of  self-conscious  artistic  aim  which  is 
heralded  by  the  Mainz  Breidenbach  but  really  begins 
with  Diirer.”  — Pollard  Fine,  p.  117* 

“At  first,  woodcuts  were  executed  in  outline,  in 
the  earliest  work  simply  a guide  to  the  illuminator 
who  colored  them  by  hand.  Next  came  indications 
of  shadow  by  means  of  parallel  lines,  finally  cross- 
hatching  (lines  crossing  each  other  to  mark  shadow 
or  local  color)  was  adopted. 

“Cross-hatching,  when  executed  on  copper  plates, 
where  the  lines  are  incised,  offers  no  special  diffi- 
culty. In  wood  engraving,  on  the  other  hand,  where 
the  lines  are  cut  in  relief,  the  effect  can  be  given 
only  by  laboriously  gouging  out  the  diamond-shaped 
spaces  between  the  intersections. 

“Cross  hatching  appears  first  in  Breydenbach’s 
‘Voyage’  (I486)...  It  was  more  extensively  em- 
ployed to  obtain  shadow  and  color  values... in  the 
Nuremburg  ‘Chronicle.’”  — Weitenkampf,  p.  166. 

“Illustrative  work... was  developed  in  Germany 
from  a mere  love  of  pictures,  as  a sort  of  dramatic 
commentary  upon  the  text  which  they  accompanied; 
and  in  Italy  from  the  desire  for  beautifying  books 
as  well  as  everything  else,  with  decorative  graces. 
In  Germany,  the  proper  function  of  book-illustration 
was  instruction;  in  Italy,  ornament.”  — Lippmann, 
p.  4. 

49.  Nouum  Beate  Marie  Virgis  Psalteri- 
um.  Tsinna:  Press  of  the  Cistercian  Mon- 
astery, not  after  1496.  (Catalogue  of  books 


printed  in  the  xvth  century,  now  in  the 
British  Museum,  part  3,  1913,  p.  700.) 

Two  copies,  one  opened  at  title  (woodcut) , the 
other  at  f i,  showing  illustration  and  illustrated  border. 

“The  one  book  printed  at  the  Cistercian  monas- 
tery at  Zinna,  near  Magdeburg,  the  Psalterium  Beatae 
Mariae  Virginis,  of  Hermann  Nitschewitz,  the  most 
richly  decorated  German  book  of  the  fifteenth  cen- 
tury.”— Pollard  Fine,  p.  117. 

50.  Brant,  Sebastian.  Das  Narrenschiff 
[The  ship  of  foolsj.  Basel,  1494. 

Folio  Ixiii. 

“Brant’s  Narrenschiff  attracted  the  eyes  of  the 
literary  world  throughout  Europe  to  the  city  of 
Basle...  The  engraver  or  engravers.  . .of  its  one 
hundred  and  fourteen  cuts  are  not  known,  but  Brant 
is  said  to  have  closely  supervised  the  work,  and  may 
possibly  have  furnished  sketches  for  it  himself. 
Many  of  the  illustrations  could  hardly  be  better... 
It  is  noteworthy  that  in  the  Narrenschiff  we  have 
no  longer  to  deal  with  a great  folio  but  with  a handy 
quarto,  and  that,  save  for  its  cuts  and  the  adjacent 
borders,  it  has  no  artistic  pretensions.”  — Pollard, 
p.  67-68. 

“Brant  ensured  the  popularity  of  his  Narrenschiff 
(1494)  by  equipping  it  with  115  admirable  illustra- 
tions. Before  the  end  of  the  year  Wagner,  Greyff, 
Schoensperger.  . . had  all  pirated  it  with  copies  of 
the  Basel  cuts.  . . Probably  no  other  illustrated  work 
of  the  fifteenth  century  is  so  well  known.”  — Pollard 
Fine,  p.  110. 

51.  Duerer,  Albrecht.  Opera.  Arnhem, 
1604. 

Leaf  E iii. 

52.  Two  sheets  from  Duerer’s  series, 

The  Apocalypse  of  St.  John.  (Bartsch  60- 
75.) 

The  four  riders  of  the  Apocalypse. 

The  distribution  of  the  trumpets  to  the  seven 
angels. 

Lent  by  Kennedy  & Co. 

These  prints  are  of  the  edition  of  1511,  with  Latin 
text,  being  the  fourth  of  the  five  states  noted  by 
Passavant.  The  set  was  originally  issued  in  1498,  a 
title-page  with  vignette  being  added  for  the  later  issue. 

“Stated  in  their  colophons  to  have  been  ‘printed 
by  Albrecht  Diirer,  painter,”  neither  edition  bears  the 
name  of  a professional  printer.  The  types  used... 
were  those  of  Anton  Koberger,  Diirer’s  godfather, 
and  the  effect  of  the  artist’s  personal  superintendence 
is  seen  in  the  excellence  of  the  presswork.”  — Pol- 
lard Fine,  p.  181. 

“There  is  a certain  exaggeration  and  over-emphasis 
of  gesture  in  the  ‘Apocalypse’  woodcuts,  but  Diirer 
never  invented  anything  more  sublime  than  the  cele- 
brated Four  Riders  or  the  St.  Michael  defeating  the 
Rebel  Angels.  . . The  landscape  at  the  foot  of  St. 
John’s  Vision  of  the  Four-and-twenty  Elders  is  a 
complete  picture  by  itself.”  — Campbell  Dodgson,  in 
Print-collector’s  quarterly,  v.  2,  1912,  p.  166. 

53.  Passio  Christi  ab  Alberto  Durer 

Nurenbergensi  effigiata...  Nuremberg, 
1511.  The  so-called  “Little  Passion.” 
(Bartsch,  16-52.) 

Lent  by  The  Pierpont  Morgan  Library. 

Christ  washing  the  feet  of  his  disciples. 

“The  blocks  came  to  Naples,  from  there.  . .to  Lon- 
don. Ottley  printed  four  of  them  in  his  ‘An  inquiry 
etc.,’  v.  2.  In  1839  the  British  Museum  purchased 
the  35  blocks  still  extant.  Galvanos  were  made  of 
them  and  by  means  of  these  new  editions  were  re- 
peatedly printed.  The  many  copies  (by  Mommard, 
Waesberge,  M.  A.  Raimondi,  Solis,  etc.)  did  not 
appear  in  book  form  but  as  separate  prints.”  — 
H.  W.  Singer,  Versuch  einer  Durer  Bibliographic, 
1903,  p.  6. 

“One  cause  of  the  cheapness  of  wood  engraving 
as  compared  with  engraving  on  copper  was  that  it 


ILLUSTRATED  BOOKS  OF  THE  PAST  FOUR  CENTURIES 


13 


German  Books,  15th  -16th  Centuries,  cont’d. 

could  he  printed  simultaneously  with  the  letter-press. 
This  is  because  it  is,  like  typography,  a relief  process. 
Just  as  the  body  of  the  type  rises  above  its  base  or 
shank,  so  does  the  engraved  design  on  a wood  block 
stand  out  in  relief  above  the  surrounding  surface. 
The  block  has  therefore  simply  to  be  made  type-high, 
so  that  the  top  of  the  lines  in  relief  is  on  the  same 
level  as  the  top  of  the  types,  in  order  that  both 
may  be  locked  in  the  same  type-form  and  printed 
from  at  the  same  time.  This  would  be  impossible 
with  metal  plates  in  which  the  lines  are  cut,  in 
intaglio,  appearing  as  channels  instead  of  ridges.”  — 
Weitenkampf,  p.  163. 

54.  Prayerbook  of  the  Emperor 

Maximilian.  Reproductions. 

“The  copy  in  Munich,  famous  through  its  border 
designs  by  Duerer.”  — Chmelarz. 

Reproductions  of  two  pages  are  shown,  one  in 

Jahrbuch  der  Kunsthistorischen  Sammlungen  des 
Allerhochsten  Kaiserhauses,  Bd.  3,  Wien,  1883,  plates 
accompanying  an  article  by  Eduard  Chmelarz, 

the  other  in 

Albert  Diirer’s  designs  of  the  Prayer  Book.  Lon- 
don: R.  Ackermann,  1817. 

“Diirer  must  be  regarded  as  the  inaugurator  of 
the  second  period  of  German  book-illustrations... 
Diirer’s  important  bookwork  begins  in  1498,  when 
his  fifteen  magnificent  woodcuts  illustrating  the 
Apocalypse  were  issued.  . . Three  other  sets  of  wood- 
cuts  by  Diirer  appeared  in  book  form... the  life  of 
the  Blessed  Virgin,  the  Great  Passion ...  the  Little 
Passion...  After  this  Diirer  was  caught  up  by  the 
Emperor  Maximilian  and  set  to  work  on  some  of 
the  various  ambitious  projects  for  illustrating  his 
reign.  His  later  bookwork  includes ...  his  own  book 
on  the  Proportion  of  the  Human  Figure.”  — Pollard 
Fine,  p.  181-183. 

“The  celebrated  drawings  on  the  margin  of  the 
pages  of  the  Emperor  Maximilian’s  Prayer-book,  now 
in  the  Royal  Library  at  Munich.  . . It  was  entrusted 
to  Diirer,  who  was  to  fill  in  the  wide  parchment 
margins  round  the  text  with  pen-and-ink  drawings. 
The  designs  with  which  he  covered  the  forty-five 
pages  of  the  precious  book,  alternately  in  red,  green, 
and  violet  ink,  are  a perfect  outpouring  of  fantastic 
humour.  The  serious  and  the  comic,  the  sacred  and 
the  profane,  follow  one  another  at  random,  gracefully 
intertwined  with  ornamental  tracery,  which  is  dashed 
off  with  wonderful  freedom  of  hand,  and  originality 
and  variety...  There  is  an  infinite  joyousness  and 
exuberance  of  life  running  through  the  whole...  It 
is  the  last  genius-inspired  manifestation  of  those 
primeval  principles  of  ornamentation  appertaining 
to  the  North...  But  already  the  modern  love  of 
nature  has  begun  to  make  itself  felt;  indigenous  trees 
and  plants.  . .form  the  groundwork  of  the  designs, 
and  fictitious  beasts  give  way  to  real  living  animals.  . . 
The  marginal  decorations. ..  are  as  precisely  char- 
acteristic of  Diirer  and  German  art  as  the  contem- 
poraneous ornaments  of  the  Loggie  in  the  Vatican 
are  of  Raphael  and  Italians.  These  drawings  of 
Diirer.  . .always  bear  an  ingenious  relation  to  the 
text  which  they  accompany...”  — M.  Thausing, 
Albert  Durer,  his  life  and  works,  London,  1882,  v.  2, 
p.  125-127. 

55.  Passionis  Christi  unum  ex  quattuor 
evangelistis  textum.  [Ringmannus  Phile- 
sius,  pseud,  of  M.  Ringmann,  editor. 
Woodcuts  by  Ursus  Graf.j  Argen:  I. 
Knoblouchus  [1508 ?j.  (Bartsch,  v.  7,  p.  459, 
no.  2.) 

A Hi:  Raising  of  Lazarus. 

“At  Strasburg.  . .a.  .. famous  publisher.  . .Johann 
Knoblouch . . . for  some  of  his  books  secured  the  help 
of  Urs  Graf,  an  artist  whose  work  preserved  some 
of  the  old-fashioned  simplicity  of  treatment.”  — Pol- 
lard, p.  79. 


56.  Altdorfer,  Albrecht.  The  fall  and  re- 
demption of  man.  A set  of  40  wood-cuts. 
(Bartsch  1-40.) 

The  first  sixteen  (Bartsch  1-16). 

“About.  ..  1515.  . .comes  the  magnificent  set  of 
forty  little  prints  known  as  the  ‘Passion  Series’  (B. 
1-40),  which  contains  an  epitome  of  all  that  Alt- 
dorfer knew  and  was...  it  would  be  interesting 
to  know  whether  they  were  that  ‘book  illustrated  with 
woodcuts’  which  figured  in  the  inventory  of  the 
bankrupt  Rembrandt...  Altdorfer,  the  architect  and 
builder,  had  come  into  frequent  and  intimate  contact 
with  laborers  and  artisans,  with  the  result  that  in  his 
work  there  is  rarely  to  be  seen  any  gesture  or  move- 
ment that  is  not  muscularly  effective  and  that  does 
not  bear  the  imprint  of  practical  observation.”  — 
W.  M.  Ivins,  in  Print-collector’s  quarterly,  v.  4,  1914, 
p.  46-47. 


The  influence  of  wood-engraving,  says  George 
E.  Woodberry  “was  one,  and  by  no  means  the  most 
insignificant,  of  the  great  forces  which  were  to 
transform  mediaeval  into  modern  life,  to  make  the 
civilization  of  the  heart  and  brain  no  longer  the 
exclusive  blessing  of  a few  among  the  fortunately 
born,  but  a common  blessing.” 

57.  Theuerdank.  Nuremberg,  1517.  The 
illustrations  colored.  Vellum. 

Opened  at  l ii. 

“The  romance  of  Theuerdank  was  written  by 
Melchior  Pfintzing,  under  * Maximilian’s  direction,  to 
celebrate  his  wooing  of  Mary  of  Burgundy  and  other 
exploits.  The  bulk  (seventy-seven)  of  the  illustra- 
tions in  it  are  now  ascribed  to  Beck,  seventeen  to 
Schaufelein,  thirteen  to  Burgkmair,  and  three,  two 
and  one  respectively  to  Schon,  Traut,  and  Breu.  It 
was  published  as  a sumptuous  folio,  several  copies 
being  struck  on  vellum  by  the  elder  Schoensperger 
at  Nuremberg  in  1517,  and  reprinted  two  years  later.” 
— Pollard  Fine,  p.  189. 

58.  Treitz-Saurwein,  Marx,  von  Ehren- 
treitz.  Der  Weiss  Kunig.  Wien,  1775.  2 v. 

Title-page  and  plate  77. 

“The  Weisskunig,  or  White  King,  an  account  of 
Maximilian’s  parentage,  education,  and  exploits,  was 
dictated  by  him  in  fragments  to  Treitzsaurwein,  but 
never  fully  edited.  Of  the  249  illustrations  about 
half  are  by  Burgkmair,  most  of  the  others  by  Beck. 
With  the  exception  of  thirteen,  the  blocks  were  pre- 
served at  Vienna,  and  the  book  was  printed  there 
for  the  first  time  in  1775.”  — Pollard  Fine,  p.  189. 

“In  directing  the  attention  of  German  artists  to 
the  illustration  of  books,  the  Emperor  Maximilian 
played  a part  more  important  than  Diirer  himself. 
As  in  politics,  so  in  art,  his  designs  were  on  too 
ambitious  a scale,  and  of  the  three  great  books  he 
projected,  the  Theuerdank,  the  Weisskunig,  and 
the  Freydal,  only  the  first  was  brought  to  a success- 
ful issue.”  — Pollard,  p.  73. 

59.  Passional  Christi  und  Antichristi. 
1521. 

Wood-cut  border  on  title-page  by  Lucas  Cranach. 

Title,  with  border. 

“The  use  of  borders  soon  became  a common  fea- 
ture in  German  title-pages,  especially  in  the  small 
quartos  in  which  the  Lutherans  and  anti-Lutherans 
carried  on  their  controversies;  but  it  cannot  be  said 
that  they  often  exhibit  much  beauty...  Cranach, 
who  had  previously  (in  1509)  designed  the  cuts  for 
what  was  known  as  the  Wittenbcrger  Hciligsthum- 
buch,  in  1521  produced  his  Passional  Christi  und 
Antichristi,  in  which  the  sufferings  and  humility  of 
Christ  were  contrasted  with  the  luxury  and  arro- 
gance of  the  Pope.  At  Wittenberg,  too,  the  thin 
quartos,  with  woodcut  borders  to  their  title-pages, 
were  peculiarly  in  vogue,  the  majority  of  the  designs 
being  poor  enough,  but  some  few  having  consider- 
able beauty,  especially  those  of  Lucas  Cranach."  — 
Pollard,  p.  78-79. 

“Lucas  Cranach...  A few  title-cuts  on  tracts  by 
Luther  and  others  are  assigned  to  him,  but  a great 


14 


THE  NEW  YORK  PUBLIC  LIBRARY 


German  Books,  15th -16th  Centuries,  cont’d. 

mass  of  bookwork,  including  numerous  fine  borders, 
found  in  Wittenberg  books  of  tbe  Luther  period, 
while  showing  abundant  traces  of  the  elder  Cranach’s 
influence,  is  yet  clearly  not  by  him.”  — Pollard  Fine, 
p.  190. 

As  someone  has  tersely  put  it,  in  all  this  German 
work  we  find  mainly  character  and  instruction;  in 
the  Italian  cuts  of  the  same  period,  grace  and  decora- 
tion. That  appears  in  the  pictorial  titles  which  both 
those  two  reforming  spirits,  Luther  and  Savonarola, 
found  it  well  to  give  their  propagandist  or  polemic 
pamphlets,  although  the  German  cuts  often  were 
decorative  borders  and  the  Italian  ones  illustrations. 

59a.  Rottinger,  H.  Hans  Weiditz  der 
Petrarkameister.  Strassburg,  1904. 

Plate  10,  reproduction  of  illustration  by  Weiditz 
for  Petrarch’s  “von  der  Artzney  bayder  Gluck,” 
Augsburg,  1532. 

“Hans  Weiditz.  Immense  extension  of  [his]  work 
by  the  attributions  of  recent  years.  Only  two  or 
three  Augsburg  woodcuts  bearing  his  initials  are 
known,  while ...  hundreds  are  now  assigned  to  him, 
most  of  which  had  previously  been  credited  to  Burgk- 
mair.  . . In  1530  he  illustrated  the  Herbarium  of 
Brunfels.  . . and  for  his  comparatively  humble  work 
was  praised  by  name  in  both  editions,  so  that  until 
1904  it  was  only  as  the  illustrator  of  the  Herbal 
that  he  was  known.  Many  of  his  Augsburg  wood- 
cuts  subsequently  passed  to  that  persistent  purchaser 
of  old  blocks,  Christian  Egenolph  of  Frankfort.”  — 
Pollard  Fine,  p.  186,  187. 

A list  of  his  woodcuts  was  published  in  the  Bor- 
senblatt  fiir  den  deutschen  Bitchhandel,  March  28-30, 
1911. 

60.  Holbein,  Hans.  leones  Historiarvm 
Veteris  Testamenti . . . Lugduni:  apud 

Ioannem  Frellonium,  1547. 

Each  illustration  has,  above,  the  corresponding 
passage  from  the  Old  Testament  in  Latin,  and  below, 
a paraphrase  in  French  verse. 

First  published  in  1538  at  Lyon. 

n.  Esdra  I. 

“After  his  return  to  Basel  in  1519,  Holbein  re- 
mained there  until  1526,  and  during  this  period  his 
book-illustrations  were  executed,  including  those  to 
the  Apocalypse  and  his  two  most  famous  pieces  of 
bookwork,  Dance  of  Death  and  Historiarum  Veteris 
Testamenti  leones,  both  first  published  in  1538  at 
Lyon  by  Melchior  and  Gaspar  Trechsei.  These 
(with  perhaps  some  exceptions) ..  .were  cut  in  wood 
by  Hans  Lutzelburger.  The... Old  Testament  de- 
signs. . .as  printed  by  the  Trechsels,  are  eighty-six 
in  number,  and  while  the  cutting  of  the  best  is 
worthy  of  Lutzelburgerj  their  execution  is  too  un- 
equal for  it  to  be  certain  that  the  whole  series  was 
executed  by  him...  The  cuts... were  republished 
by  the  Frellons.”  — Pollard  Fine,  p.  192-193. 


61.  Les  simulachres  & Historiees 

faces  de  la  mort,  avtant  elegammet  pour- 
traictes,  que  artificiellement  imaginees. 
[Dance  of  Death.]  Lyon,  1538. 

The  first  edition,  published  by  the  Trechsels. 

Lent  by  The  Pierpont  Morgan  Library. 

G Hi:  Death  and  the  ploughman. 

“The  woodcuts. . . [by] . . .Hans  Lutzelburger.  . . 
are  known  to  have  been  in  existence  as  early  as 
1527,  and  were  probably  executed  two  or  three  years 
before  that  date.”  — Pollard,  p.  172. 

The  illustrations  by  Holbein,  “first  of  the  mod- 
erns”... are  little  masterpieces  of  appropriate  hand- 
ling. No  wasted  lines,  little  cross-hatching;  unity  of 
purpose  and  directness  of  result.  A little  cut,  not 
three  inches  square,  such  as  “Death  and  the  Plough- 
man,” has  all  the  breadth  and  bigness  of  a large 
canvas  or  mural  painting,  with  yet  no  futile  attempt 
to  crowd  in  all  the  detail  of  the  larger  work.  The 
effect  desired  is  completely  produced,  while,  as 
Ruskin  says,  it  makes  no  difference  whether  Death 
has  the  proper  number  of  ribs  or  not. 

“These  cuts  are  only  about  2 y2  by  2 inches,  and 
yet  an  extraordinary  amount  of  invention,  graphic 
power,  dramatic  and  tragic  force,  and  grim  and 
satiric  humour,  is  compressed  into  them.  They  stand 
quite  alone  in  the  history  of  art.”  — Crane,  p.  92. 

62.  Typographical  ornaments.  A 

sheet  of  reproductions,  from  “Der  Formen- 
schatz,”  1880. 

63.  Doctrina,  vita  et  Passio  Iesv  Christi 
. . .artificiosissime  effigiata.  Lere,  Leben 
und  Sterben  Jesu  Christi. . .kiinstlich 
fiirgebildet.  [Monogram  on  shovel,  de- 
vice of  Hans  Leonhard  Schaeuffelein,  the 
illustrator  of  the  book.]  Frankfort,  1537. 

C:  Christus  ad  Caipham  ductus.  Mat.  xxvi. 

64.  Schopperus  De  omnibus  illiberalibvs 
sive  mechanicis  artibus...  Frankfort, 
1574. 

Illustrated  by  Jost  Amman. 

Lent  by  Col.  William  Barclay  Parsons. 

C 2:  Sculptor.  Der  Formschneider.  The  cut 
shows  a wood  engraver  at  work. 

“Frankfort  in  the  last  third  of  the  [sixteenth]  cen- 
tury had  become  a great  centre  for  book-illustra- 
tion. Jost  Amman  was  largely  responsible  for  its 
development  in  this  respect.”  — Pollard  Fine,  p.  278. 

Three  cuts  in  this  book,  showing  the  designer, 
the  engraver,  and  the  colorer  at  work,  form  a valu- 
able record  and  have  frequently  been  reproduced 
in  books  on  printing,  illustrating,  and  wood-engrav- 
ing. 


English  Books,  15th -16th  Centuries 


65.  Cessolis,  Jacobus  de.  The  game  of 
the  chesse.  2d  edition.  Printed  by  Wil- 
liam Caxton.  About  1481-3. 

Lent  by  The  Pierpont  Morgan  Library. 

b viii:  thyrd  chappytre  of  the  second  traytye. 

First  edition  printed  at  Bruges,  "probably  1475-6,’’ 
says  Pollard. 

"The  first  edition  printed  at  Bruges  had  no  illus- 
trations. The  cuts  arc  coarsely  designed  and  roughly 
cut,  hut  serve  their  purpose;  indeed  they  are  evi- 
dently intended  as  illustrations  rather  than  orna- 
ments. Controversy  has  arisen  as  to  whether  these 
cuts  were  executed  in  England  or  abroad,  hut  Mr. 
Linton  has  very  justly  decided  in  favour  of  England.” 
— E.  Gordon  Duff,  in  Pollard,  p.  224. 


65a. Reproduction  by  Figgin. 

London  (1855]. 

Opened  at  h. 

66.  The  Golden  Legend.  Westminster: 
William  Caxton,  1484.  First  edition. 

T it":  The  commemoracion  of  at  soules. 

“The  Golden  Legend  (the  name  given  to  the  great 
collection  of  Lives  of  the  Saints  by.  Jacobus  de 
Voragine).”  — Pollard  Fine,  p.  207. 

“The  Golden  Legend  contains  the  most  ambitious 
woodcuts  which  Caxton  used.”  — E.  Gordon  Duff,  in 
Pollard,  p.  225. 


ILLUSTRATED  BOOKS  OF  THE  PAST  FOUR  CENTURIES  1^ 


English  Books , 15th  - 16th  Centuries,  cont'd. 

66a. Six  separate  pages  from  a 

later  edition. 

“In  the  fifteenth  century.  . .the  artistic  spirit  which 
had  been  so  prominent  in  England  in  the  thirteenth 
and  fourteenth  centuries  seems  to  have  died  out 
altogether...  Few  English  books  were  illustrated, 
and  of  these  few  quite  a large  proportion  borrowed 
or  copied  their  pictures  from  foreign  originals.  . . 
For  the  present  we  concern  ourselves  only  with  il- 
lustrations on  wood,  or  on  soft  metal  cut  in  relief 
after  the  manner  of  wood,  a difference  of  more 
interest  to  the  technical  student  than  to  book-lovers. 
The  first  English  books  thus  illustrated  appear 
about  1481...  In  1481  Caxton  ornamented  the 
second  edition  of  The  game  and  play  of  the  chess  with 
sixteen  woodcuts.  The  pictures  are  clumsy  and 
coarsely  cut,  comparing  miserably  with  the  charming 
little  woodcuts  in  the  Italian  edition...  About  1484 
appeared  three  of  his  most  important  illustrated 
books,  the  Golden  Legend,  the  second  edition  of 
Chaucer’s  Canterbury  Tales,  and  an  Aesop.  The 
Golden  Legend  is  ornamented  with  eighteen  large  and 
thirty-two  smaller  woodcuts.  For  the  Aesop,  like 
many  other  foreign  publishers,  Caxton  sent  his  illus- 
trators to  the  designs  made  for  the  Zainers  at  Augs- 
burg and  Ulm,  and  quickly  imitated  all  over  Ger- 
many, and  the  copies  he  obtained  are  merely  servile 
Foreign  influence  is  also  evident  in  some  at 
least  of  the  cuts  in  the  Golden  Legend;  on  the  other 
hand,  the  device  of  the  Earl  of  Arundel  on  leaf  3 
verso.  . .must  have  been  made  in  England.  Original, 
too,  of  necessity,  were  the  illustrations  to  the  Canter- 
bury Talcs . . . But  the  succession  of  pilgrims  is 
grotesque  in  its  cumulation  of  clumsiness...  Ap- 
parently Caxton  himself  realized  that  these  English- 
made  woodcuts  were  a failure,  for  the  only  two  im- 
portant illustrated  books  which  he  issued  after  this, 
the  Speculum  Vitae  Christi . . .and  The  Fifteen  Oes, 
both  seem  to  be  decorated  with  cuts  of  Flemish 
origin.”  — Pollard  Fine,  p.  250-252. 


67.  Recuyles  of  the  Hystoryes  of  Troye. 
1503.  Printed  by  Wynkyn  de  Worde. 

Lent  by  The  Pierpont  Morgan  Library. 

Title-page. 

“Wynkyn  de  Worde  inherited  Caxton’s  stock  of 
woodcuts,  and  early  in  his  career  used  some  of  them 
again  in  repiints...  In  1496,  in  a treatise  on 
Fishing,  he  prefixed  a cut  of  a happy  angler.  . . 
This  is  quite  good  .primitive  work... but  soon  after 
this  De  Worde  employed  a cutter  who  [mangled) 
cruelly  a set  of  rather  ambitious  designs  for  the 
Mortc  d’Arthur  of  1498  (several  of  them  used  again 
in  the  Recuyell  of  1503).  . . De  Worde  at  last  found 
a competent  craftsman  who  enabled  him  to  bring 
out  in  1505  an  English  version  of  the  Art  de  bien 
vivre  with  quite  neat  reductions  of  the  pictures  in 
Verard’s  edition  of  1492...”  — Pollard  Fine,  p.  253- 
254. 

68.  Lydgate,  John.  Fall  of  princes.  1527. 
Printed  by  Richard  Pynson. 

Lent  by  Mr.  H.  E.  Huntington. 

Title. 

The  first  edition  of  this  book,  which  is  a transla- 
tion in  verse  of  Boccaccio’s  De  casibus  illustrium 
virorum,  was  issued  in  1494.  For  this  Pynson  used 
the  cuts  made  for  the  French  edition  printed  at 
Paris  by  Jean  Du  Pre  in  1483.  So  says  Pollard 
( Fine  books,  p.  144),  who  says  of  the  cuts  that  they 
“are  well  designed  and  clearly  cut,  if  rather  hard, 
and  till  their  French  origin  was  discovered  were 
justly  praised  as  ‘some  of  the  very  best’  English 
woodcuts  of  the  fifteenth  century.”  For  the  1527 
edition,  he  continues  (p.  258),  “Pynson  drew  on  his 
stock  of  miscellaneous  blocks.  He  had  apparently 
returned  the  blocks  borrowed  from  Du  Pre,  as  none 
of  them  is  used  in  1527,  although  one  or  two  are 
copied.” 


French  Books,  15th-  16th  Centuries 


69.  Josephus.  L’Hystoire  de  la  bataille 
judaique.  Paris:  Anthoyne  Verard,  7 Dec., 
1492.  Vellum.  (Macfarlane,  John.  An- 
toine Verard,  London,  1900,  p.  11,  no.  21.) 

The  illustrations  are  heavily  colored.  According 
to  a dealer’s  statement  “one  of  two  copies  printed 
on  vellum,  the  other  copy  being  in  the  National  Li- 
brary at  Paris.” 

s iiii,  feuillet  84:  Icy  comence  le  quart  liure... 

“The  chief  book  of  1492  was... the  series  of 
treatises  making  up  the  Art  de  bien  vivre  ct  de  bien 
mourir.  . . Next  to  them  in  importance  is  a Josephus 
de  la  bataille  judaique .” — Pollard,  p.  151. 

French  Books  of  Hours.  1 5th— 1 6th  cen- 
turies. nos.  70-87. 

“The  large  and  interesting  group  of  the  ‘Livres 
d’Heures’.  . .books  of  devotion.  . . They  are  intended 
to  replace  the  valuable,  finely  miniatured  manu- 
scripts, and  are  therefore  frequently  printed  on  parch- 
ment, and  carefully  and  richly  furnished  with  pic- 
tures and  borders  for  every  page.  . . The  pictures  . . 
arc  rather  conventional,  but  always  graceful...  The 
supposition  that  many  of  them  are  not  cut  in  wood, 
but  in  metal  — always,  of  course,  cut  in  relief  — is 
corroborated  by  a note  on  the  title  of  Jean  Dupre’s 
Heures  of  Feb.  4,  1488  (1489),  where  the  ‘vignettes’ 
are  described  as  ‘printed  in  copper.’  ” — P.  Kristeller, 
Kupferstich  und  Holzschnitt,  p.  107. 

“Each  of  the  Hours,  we  are  told,  had  its  mystical 
reference  to  some  event  in  the  lives  of  the  Blessed 
Virgin  and  our  Lord.  Lauds  referred  to  the  visit 
of  Mary  to  Elizabeth.  Prime  to  the  Nativity,  Tierce 
to  the  Angels’  Message  to  the  Shepherds,  Sext  to 


the  Adoration  by  the  Magi,  Nones  to  the  Circum- 
cision, Vespers  to  the  Flight  into  Egypt,  Compline 
to  the  Assumption  of  the  Virgin.  The  subsidiary 
Hours  of  the  Passion  naturally  suggested  the  Cruci- 
fixion, and  those  of  the  Holy  Spirit  the  Day  of 
Pentecost.  We  have  here  the  subjects  for  nine  pic- 
tures, which  were  almost  invariably  heralded  by  one 
of  the  Annunciation,  and  might  easily  be  increased 
by  a representation  of  the  Adoration  by  the  Shep- 
herds, of  the  Murder  of  the  Innocents,  and  the  Death 
of  the  Virgin.  Moreover,  the  contents  of  Books  of 
Hours  were  gradually  enlarged  till  they  deserved 
the  title,  which  has  been  given  them,  of  the  Lav- 
Folk’s  Prayer-Book...  The  Kalendar  usually  con 
tained  poetical  directions  for  the  preservation  of 
health,  and  was  therefore  preluded  by  a rather 
ghastly  anatomical  picture  of  a man. 

“As  first  planned,  the  border  vignettes  formed  a 
continuous  series  illustrating  historically  the  teach- 
ing of  the  Horae  by  reference  to  Old  Testament 
types,  with  chapter  and  verse  for  their  significance.” 
— Pollard,  p.  178-181. 

70.  Claudin,  A.  Histoire  de  l’imprimerie 
en  France  au  xve  et  au  xvi'  siecle.  Paris, 
1900. 

Reproductions  of  marks  of  Pigonchet  and  Simon 
Vostre,  and  two  illustrations,  from  books  of  hours. 

71.  Heures  a lusage  de  Rome.  Paris: 
printed  by  Philippe  Pigouchet  for  Simon 
Vostre,  6 Oct.  1495.  Almanac,  1488-1508. 
Vellum.  (Bohatta.  532.) 

/ iiii:  cut  of  Lazarus  and  the  rich  man. 


16 


THE  NEW  YORK  PUBLIC  LIBRARY 


French  Books,  15th  - 16th  Centuries,  cont’d. 

72.  Heures  a l’usaige  de  Rome.  Paris: 
Phil.  Pigouchet  for  Simon  Vostre,  22  Aug. 
1498.  (Bohatta,  594.) 

Lent  by  The  Pierpont  Morgan  Library. 

Title. 

“We  now  come  to  the  most  celebrated  of  all  the 
series  of  Horae,  those  printed  by  Pigouchet,  chiefly 
for  Simon  Vostre.  ..  Certainly  by  1496.  .. Pigouchet 
had  arrived  at  his  typical  style,  of  which  a good 
specimen-page  is  given  in  our  illustration  from  the 
edition  of  August  22,  1498.  His  original  idea  ap- 
pears to  have  been  for  editions  with  a page  of  text 
measuring  Sx/2  in.  by  31/2j  such  as  he  issued  on 
April  17,  1496,  and  January  18,  1496-7.  But,  at 
least  as  early  as  November  4,  1497,  he  added  another 
inch  both  to  the  height  and  breadth  of  his  page  by 
the  insertion  of  the  little  figures,  which  will  be 
noticed  at  the  left  of  the  lower  corner  and  on  the 
right  at  the  top.  The  extra  inch ...  enabled  him  to 
surround  his  large  illustrations  with  vignettes,  but 
the  borders  themselves  are  not  improved  by  them, 
for  they  mar  the  rich  effect  of  the  best  work  in  which 
the  backgrounds  are  of  black  with  pricks  of  white. 
These  dotted  backgrounds.  .. present  in  some  of  the 
finest  of  the  printers’  marks,  appear  also  in  three 
plates... in  the  1498  editions,  and  thenceforward. 
These  illustrate  the  Tree  of  Jesse,  the  Church 
Militant  and  Triumphant,  the  Adoration  of  the  Shep- 
herds. . . The  artists  who  used  these  dotted  back- 
grounds evidently  viewed  the  Horae  rather  from  the 
mystery-play  standpoint.”  — Pollard,  p.  190-195. 

73.  Heures  a lusaige  de  Paris.  Paris: 
Udalr.  Gering  and  Berth.  Remboldt,  for 
Simon  Vostre,  8 Sept.  1498.  Almanac  for 
1498-1508.  (Bohatta,  222.) 

Lent  by  The  Pierpont  Morgan  Library. 

e Hi:  angels  appearing  to  the  shepherds. 

74.  Heures  a lusage  de  Rome.  Paris:  A. 
Verard,  22  Oct.  1500.  Almanac,  1497-1520. 
Vellum. 

Open  at  i 2. 

“The  great  Paris  publisher  Antoine  Verard  started 
on  his  busy  career  in  1485,  and  the  history  of  book- 
illustration  at  Paris  is  soon  immensely  complicated 
by  his  doings.  Many  of  the  printers  at  Paris  printed 
for  him;  illustrations  originally  made  for  other  men 
gravitated  into  his  possession  and  were  used  occa- 
sionally for  new  editions  of  the  book  for  which  they 
had  been  made,  much  more  often  as  stock  cuts  in 
books  with  which  they  had  nothing  to  do;  while  if 
another  firm  brought  out  a successful  picture-book, 
Verard  imitated  the  cuts  in  it  with  unscrupulous  and 
unblushing  closeness.  . . John  Macfarlane.  . .showed 
that  ‘besides  being  repeatedly  used  in  book  after  book, 
it  not  uncommonly  happens  that  the  same  cut  is  used 
again  and  again  in  the  same  book.’  He  pointed  out, 
moreover  [as  instances  of  the  use  of  cuts  in  books 
for  which  they  were  not  intended]  that.  . .‘for  in- 
stance, in  the  Josephus  of  1492  the  spoliation  of  a 
country  is  represented  by  the  burial  of  a woman, 
the  Sacrifice  of  Isaac  helps  the  reader  to  conceive 
the  execution  of  a malefactor,  while  a mention  of 
the  sea  brings  out  a cut  of  Noah’s  Ark.’  ” — Pollard 
Fine,  p.  147-148. 

75.  Heures  a lusage  de  Paris.  Paris:  for 
Anthoine  Verard,  14  August,  1500.  Vel- 
lum. (Bohatta,  228.) 

Lent  by  The  Pierpont  Morgan  Library. 

1st  page. 

76.  Horae  intemerate  Virginis  Marie  secu- 
du  usum  Romanum.  Paris:  Thielman 
Kerver  for  Gilles  Remade,  14  May,  1501. 
Almanac  1497-1520.  Vellum.  (Bohatta, 
657.) 

I.cnt  by  The  Pierpont  Morgan  Library. 

Title. 


77.  Heures  a lusage  de  Rome.  Paris: 
Jeha  Pychore  et  Remy  de  Laistre,  5 April, 
1503.  Almanac  1497-1520.  Vellum.  (Bo- 
hatta, 692.) 

Lent  by  The  Pierpont  Morgan  Library. 

First  page,  showing  printer’s  mark  and  border. 

“Verard  diminished  his  output,  and  the  publishers 
of  the  Horae  turned  in  despair  to  German  designs  in 
place  of  the  now  despised  native  work...  We  say 
farewell  to  the  richness  and  colour  which  distin- 
guishes the  best  French  books  of  the  end  of  the 
fifteenth  century.”  — Pollard,  p.  169-170. 

78.  Heures  a lusaige  de  Romme.  Paris: 
Ant.  Chappiel  for  Gilles  Hardouin,  24 
November  1503.  Almanac  for  1497-1520. 
Vellum.  (Bohatta,  700.) 

Lent  by  The  Pierpont  Morgan  Library. 

Opened  at  e vii. 

79.  Hore  beate  marie  Virginis  secundum 
usum  Romanum.  Paris:  Th.  Kerver,  7 
Aug.,  1505.  Almanac  1497-1520. 

Opened  at  c S. 

80.  Horae  intemerate  Virginis  Marie  se- 
cundu  usum  Romanum.  Paris:  Printed  by 
Guillaume  Anabat  for  Germain  Hardouin, 
Oct.  1,  1505.  Almanac  1505-1520.  Vellum. 
(Bohatta,  732.) 

Lent  by  The  Pierpont  Morgan  Library. 

Title,  with  printer’s  mark. 

81.  Heures  a lusage  de  Rome.  Paris: 
Guillaume  Anabat  for  G.  Hardouyn  [1507? 
Pen  note  on  a ii:  “ce  livre  est  fait  l’an 
1507”].  Almanac  for  1507-1515.  Vellum. 

Title,  full-page  illustrations,  and  some  of  the  small 
text-cuts  quite  heavily  colored;  border  cuts  uncolored. 
Capitals  colored,  as  they  often  were  also  in  previous 
issues,  in  which  the  cuts  were  uncolored. 

Opened  at  L viii. 

82.  Heures  a lusaige  de  Rome.  About 
1508.  Paris:  Guillaume  Anabat  for  Gillet 
and  Germain  Hardouin.  Vellum. 

Colophon:  “Avec  les  figures  de  la  vie  de  l’homme: 
et  la  destruction  de  Hierusalem  ensemble.  Et  pa- 
reillement  les  figures  de  lapocalipse:  & plusieurs 
autres  belles  histoires  faictes  a la  mode  de  Ytalie.” 

Lent  by  The  Pierpont  Morgan  Library. 

Cut:  “Domine  in  furore  tuo  arguas  me,”  etc. 

“The  best  French  Horae  were  all  published  within 
about  ten  years.  . . With  the  lessening  of  Pigouchet’s 
activity  about  1505,  there  came  an  after-flood  of  bad 
taste,  which  swept  everything  before  it.  Even  Simon 
Vostre,  who.  . .continued  printing  Horae  till  about 
1520.  . .displaced  the  beautiful  French  designs  by 
reproductions  of  German  work  utterly  unsuited  to 
the  French  types  and  ornaments...  Along  with  the 
substitution  of  German  designs.  . .there  went  an 
equally  disastrous  substitution  of  florid  renaissance 
borders  of  pillars  and  cherubs  for  Pigouchet’s  charm- 
ing vignettes  and  hunting  scenes.”  — Pollard,  p.  195- 
196. 

“The  religious  books,  especially  the  Livres 
d'Heures... were  filled  with  the  finest  examples  of 
the  Parisian  art,  which  sought  to  imitate  the  beauti- 
ful miniatures...  In  consequence  of  this  effort  the 
woodcut  in  simple  line  served  frequently  only  as  a 
rough  draft,  to  be  filled  in  and  finished  by  the 
colorist,  who,  indeed  sometimes  wholly  disregarded 
it  and  overlaid  it  with  a new  design.”  — Woodberry, 
p.  60. 


ILLUSTRATED  BOOKS  OF  THE  PAST  FOUR  CENTURIES 


French  Books,  15th -16th  Centuries,  cont’d. 

83.  Hore  dive  vgis  Marie  sedm  veru  vsum 
Romanu.  Paris:  Thielman  Kerver,  24  July 
1511.  Almanac  for  1506-1530.  Vellum. 
(Bohatta,  840.) 

Lent  by  The  Pierpont  Morgan  Library. 

F 1:  Dens,  in  anditoriii  men  intede. 

84.  Heures  a lusage  de  Rome.  Paris: 
printed  by  Gilles  Hardouyn,  1514.  Al- 
manac for  1514-1529.  Vellum. 

Full-page  cuts  and  capitals  heavily  colored;  border- 
cuts  uncolored. 

D vii:  Adoration  of  the  Magi. 

It  is  interesting  to  note  that  the  later  “Hours” 
issued  by  Hardouin  are  more  remarkable  for  gor- 
geous illumination  than  for  excellence  in  design; 
indeed,  the  lines  of  the  latter  are  often  quite  ob- 
literated by  the  coloring.  Note  also  heavy  coloring 
in  the  Josephus  (no.  69). 

85.  Hore  Marie  Virginis  scorn  usum  Saru. 
Paris:  Nicolai  Higman  for  S.  Vostre,  about 
1513. 

Lent  by  The  Pierpont  Morgan  Library. 
a viii:  December  of  almanac. 

86.  Heures  a lusage  de  Rome.  Paris:  for 
Simon  Vostre,  about  1520.  Table  of  feasts, 
1520-1536.  Vellum. 

Lent  by  The  Pierpont  Morgan  Library. 

Title. 

87.  Hore  Beatissime  Virgines  Marie  ad 
legitimu  Sarisburiesis.  Paris:  F.  Regnault, 
1527. 

Lent  by  The  Pierpont  Morgan  Library. 

Some  of  the  large  cuts  signed  with  the  monogram 
B.  V.  In  the  almanac,  there  is  an  English  quatrain 
added  to  the  Latin  text  for  each  month. 

Title. 


17 

88.  Tory,  Geoffrey.  Champfleury.  1529. 

Lent  by  The  Pierpont  Morgan  Library. 

Title  (decorative  border). 

“Scholar-artist,  Geoffroi  Tory.  . . His  career  as 
a printer  began  1522  and  ended  in  1533.  Tory  wrote 
and  published  a curious  work,  Champfleury,  on  the 
right  forms  and  proportions  of  the  letters  of  the 
alphabet.  It  is,  however,  by  his  Books  of  Hours 
that  he  is  now  chiefly  remembered.”  — Pollard  Fine, 
p.  173. 

“Tory  of  Bourges  was  the  first  important  printer 
of  the  new  school.  . . After  the  Horae.  . .Tory’s  most 
famous  book  was  his  Champfleury,  ‘auquel  est  contenu 
1’art  et  science  de  la  vraie  proportion  des  lettres 
antiques,’  a fantastic  work,  interesting  for  the  pre- 
lude...and  for  the  few  illustrations.”  — Pollard, 
p.  170-171. 

“This  happy  equilibrium  of  artistic  quality  and 
practical  adaptation  after  the  middle  of  the  sixteenth 
century  began  to  decline.  There  were  designers,  like 
Oronce  Fine  and  Geoffroy  Tory,  at  Paris,  who  did 
much  to  preserve  the  traditions  in  book  ornament 
of  the  early  Italian  printers,  while  adding  a touch 
of  grace  and  fancy  of  their  own,  but  for  the  most 
part  the  taste  of  book  designers  ran  to  seed  after 
this  period.”  — Crane,  p.  126. 

“The  inception  of  a new  style  must  be  connected 
with  the  name  of  Tory,  whose  best  work  is  to  be 
found  in  his  Books  of  Hours.  Its  predominant  note 
is  a rather  thin  elegance  of  outline,  in  which  the 
height  of  the  figures  is  usuajly  somewhat  exaggerated 
It  is  greatly  to  be  regretted  that  his  Champ- 
flcnry  is  so  slightly  illustrated.  The  little  picture 
of  Hercules  Gallicus  which  comes  in  it  is  quite  de- 
lightful. If  any  guide  were  in  existence  to  the 
illustrated  French  books  of  the  thirties  in  the  six- 
teenth century  it  would  probably  be  possible  to 
trace  the  spread  of  Tory’s  influence.”  — Pollard  Fine, 
p.  199. 

French  translation  of  the  Hypneroto- 
machia.  1561.  See  no.  43. 


French  Books,  18th  Century 

(Illustrations  in  Line  Engraving) 

“Copper-plate  engraving  was  presumably  adopted  as  a method  for  book-illustration  for  its  greater 
fineness  and  precision  of  line,  and  its  greater  command  of  complexity  in  detail  and  chiaroscuro;  for  its 
purely  pictorial  qualities,  in  short.”  — Crane,  p.  130. 

“The  introduction  of  the  use  of  the  copper-plate  marks  a new  era  in  book  illustration,  but  as  regards 
their  decoration,  one  of  distinct  decline...  The  surface-printed  block,  whether  woodcut  or  metal  engraving 
(by  which  method  many  of  the  early  book  illustrations  were  rendered) ...  was  set  up  with  the  type  and 
printed  by  the  same  pressure  in  the  same  press.  With  copper-plate.  . .the  paper  has  to  be  pressed  into  the 
etched  or  engraved  lines  of  the  plate,  instead  of  being  impressed  by  the  lines  in  relief  of  the  wood  or  the 
metal.  Thus... that  mechanical  relation  which  exists  between  a surface  printed  block  and  the  letter-press 
was  at  once  broken,  as  a different  method  of  printing  had  to  be  used...  The  apparent.  . .refinement  of 
the  copper-plate  did  not  necessarily  mean  extra  power  or  refinement  of  draughtsmanship ..  .but  merely 
thinner  lines.”  — Crane,  p.  116. 

Wood  engraving  fell  on  evil  days.  Line  engraving  on  copper  came  to  its  own  for  a while.  The 
Rubens  and  Vandyck  schools  of  engravers  of  the  seventeenth  century  in  the  Netherlands,  and  the  French 
portrait  engravers  of  the  same  period,  brought  line  engraving  to  the  full  flower  of  its  accomplishment  and 
possibilities.  This  technique  gained,  combined  with  a liberal  use  of  the  etching  needle,  served  in  the 
next  century  in  France  for  the  book  illustrations  which,  like  all  graphic  art  of  that  time  in  France,  mirrored 
the  elegance,  gaiety,  luxury,  and  easy  moral  sense  which  marked  the  eighteenth  century. 

J.  M.  Moreau  le  jeune,  among  the  designers,  comes  most  readily  to  mind.  His  series  of  plates  such 
as  those  for  Rousseau’s  work,  or  for  “Monument  du  Costume,”  incidentally  form  a veritable  storehouse  of 
pictorial  facts  regarding  costumes  and  customs  of  his  day.  And  there  were  also  Eisen,  Gravelot,  Marillier, 
Choffard,  Cochin,  St.  Aubin,  to  design  the  graceful,  delicate  vignettes  and  head  and  tail-pieces  which  made 
these  books  the  charming  things  they  are. 

While  this  implied  a combination  of  intaglios  and  relief  processes,  entailing  double  printing,  the 
illustrations,  being  in  line,  to  that  extent  at  least  were  in  harmony  with  the  type-page.  Indeed,  in  some 


18 


THE  NEW  YORK  PUBLIC  LIBRARY 


cases,  such  as  La  Borde’s  Choix  de  Chansons  (1773),  the  entire  book,  text  and  illustrations,  was  engraved 
on  copper.  The  whole  thing,  in  its  spirit  of  grace  and  charm,  was  quite  French  and  was  practically  limited 
to  France. 


89.  Ovid.  Les  metamorphoses  d’Ovide, 
traduction  de  l’abbe  Banier.  Amsterdam, 
1732.  3 v.  (Cohen,  col.  768-769.) 

Illustrated  by  Picart  and  others. 

Vol.2,  p.392,  Liv.  xii : Sacrifice  d’lphigenie.  P. 
Testa  inv.  B.  Picart  del.  1731. 

90.  Moliere,  J.  B.  P.  de.  Oeuvres  de  Mo- 
liere.  Nouvelle  edition.  Paris,  1734.  6 v. 
(Cohen,  col.  712.) 

The  portrait  and  the  33  plates,  without 
text,  in  contemporary  binding,  with  ms. 
title.  (S.  P.  Avery  Collection.) 

Illustrations  by  Boucher,  engraved  by  Laurent 
Cars. 

"Les  Preciettses  Ridicules.” 

“Boucher’s  masterpiece  in  illustration;  one  of  the 
finest  books  of  the  first  half  of  the  18th  century.”  — 
Cohen,  p.  712. 

91.  Boccaccio.  Le  Decameron  de  Jean 
Boccace,  traduit  par  Antoine  Le  Macon. 
Londres  [Paris;,  1757-61.  5 v.  (Cohen,  col. 
160-161.) 

Lent  by  Mr.  Cortlandt  F.  Bishop. 

Same  illustrations  and  culs-de-lampe  as  in  the 
Italian  edition  (Londra,  Paris,  1757).  The  illus- 
trations by  Gravelot,  Boucher,  Cochin,  and  Eisen, 
are  engraved  by  Aliamet,  Baquoy,  Flipart,  Lempereur, 
Tardieu,  and  others. 

Vol.  1,  p.  123:  Nouvelle  premiere ; plate  engraved 
by  M arte  nasi,  after  Gravelot. 

“One  of  the  most  successfully  illustrated  books 
of  the  whole  18th  century/’  — Cohen,  col.  158. 

92.  La  Fontaine.  Contes  et  nouvelles  en 
vers.  Amsterdam  [Paris],  1762.  2 v.  8° 
(Cohen,  col.  558.) 

Illustrations  by  Eisen,  engraved  by  Aliamet, 
Baquoy,  Choffard,  Delafosse,  Flipart,  Lemire,  Le- 
veau,  de  Longueil,  and  Ouvrier. 

Copy  with  the  illustrations  in  two  states. 

Lent  by  The  Pierpont  Morgan  Library. 

Vol.  1,  p.  35:  Le  paysan  qui  avoit  offense  son 
seigneur. 

“Among  the  illustrated  books  of  the  xvuith  cen- 
tury, this  edition  of  the  Contes,  known  as  that  of 
the  Fermiers-Generaux  because  they  paid  the  ex- 
pense, is  the  one  of  which  the  whole  effect  is  the 
most  beautiful  and  agreeable;  moreover,  it  is  Eisen’s 
masterpiece.”  — S.  de  Ricci  (Cohen,  col.  558). 

“Whereas,  during  the  earlier  part  of  the  century, 
credit  and  reputation  were  won  by  the  bringing  out 
of  works  of  great  size,  fashion,  during  the  latter  half, 
carried  the  little  book  to  the  front.  It  no  longer 
waited  modestly  behind  the  ponderous  volumes  which 
had  been  the  publishers’  glory,  but  took  the  first 
place,  just  as  the  estampe  galante  of  the  same  date 
shouldered  out  of  sight  historical'  engraving.”  — 
Lady  Dilke,  French  engravers  and  draughtsmen  of 
the  xvuith  century,  p.  98. 

93.  Fables  choisies.  Nouvelle  edi- 

tion, gravee  en  taille-douce,  les  figures  par 
Fessard,  le  texte  par  Montulay.  Paris, 
1765-75.  6 v.  (Cohen,  col.  551-552.) 

Lent  by  Mr.  Cortlandt  F.  Bishop. 

Vol.l:  Fable  xv,  plate  engraved  by  Fessard  after 
C.  Monnet. 

Edition  undertaken  by  the  engraver  Fessard.  Text 
and  illustrations  engraved  on  copper.  Illustrations 
by  Bardin,  Bidault,  Caresme,  Desrais,  Ilouel,  Kobell, 
Leclere,  Le  Prince,  Loutherbourg,  Meyer,  and  Mon- 
net. Text  engraved  by  Montulay  and  Drouet. 

94.  Ovid.  Les  Metamorphoses  d’Ovide, 
en  latin  et  en  franqois,  De  la  traduction  de 


M.  l’Abbe  Banier.  Paris,  1767-71.  (Cohen, 
col.  769-772.) 

Illustrations  by  Boucher,  Eisen,  Gravelot,  Le- 
prince,  Monnet,  Moreau,  Parizeau,  and  Saint  Aubin, 
engraved  by  Baquoy,  Bazan,  de  Ghendt,  Helman, 
Legrand,  Leveau,  Miger,  Rousseau,  and  others. 

Lent  by  Mr.  Cortlandt  F.  Bishop. 

Page  153,  liv.  n,  fable  xi:  Plate  by  Duclos  after 
Monnet. 

“Superb  work  due  to  the  care  of  the  publisher 
Basan  and  the  engraver  Le  Mire.  It  is  one  of  the 
most  ‘gallantly’  illustrated  books  of  the  whole  cen- 
tury.” — Cohen,  col.  769. 

95.  Racine,  Jean.  CEuvres,  avec  des  com- 

mentaires  par  M.  Luneau  de  Boisjermain. 
Paris,  1768.  7 v.  8°  (Cohen,  col.  847- 

849.) 

Illustrations  by  Gravelot,  engraved  by  Duclos, 
Flipart,  Lemire,  Lempereur,  Levasseur,  Nee,  Provost, 
Rousseau,  and  Simonet. 

Vol.l:  La  Thebaide,  engraved  by  N.  Le  Mire. 

96.  Le  Prince,  Jean  Baptiste.  Divers 
habillemens  des  femmes  de  Moscovie. 
[1764—68.]  (Cohen,  col.  626.) 

Title,  with  vignette  of  “Femme  du  peuple  .” 

97.  Dorat.  Fables  nouvelles.  A La  Haye 
et  se  trouve  a Paris,  1773.  2 v.  (Cohen, 
col.  313-315.) 

Illustrations  by  Marillier,  engraved  by  Arrivet, 
Baquoy,  Delauney,  Duflos,  de  Ghendt,  Lingee,  de 
Longueil,  Masquelier,  Nee,  Ponce,  Simonet,  etc. 

Page  228:  Fable  xxii;  tail-piece  by  Y.  Le  Gouaz, 
head-piece  by  N.  Ponce. 

“This  work,  which  rivals  the  Baisers  in  perfection, 
is  the  masterpiece  of  Marillier,  with  respect  to  fine- 
ness of  execution  and  the  spirit  which  reigns  in  all 
the  pretty  subjects  which  decorate  it.”  — Cohen,  col. 
314. 

“ ‘Fables  de  Dorat.’  The  text  has  but  the  slight- 
est claim  to  be  classed  even  in  the  lower  degrees  of 
literature,  but  the  illustration  — engraved  chiefly  by 
de  Ghendt,  who  wins  his  greatest  triumphs  in  trans- 
lating Marillier  — is  of  the  most  brilliant  quality. 
All  de  Ghendt’s  little  pieces  in  this  volume  are  mir- 
acles of  microscopic  delicacy.  With  de  Ghendt  were 
joined  Masquelier  and  his  associate  Nee,  who  were 
not  far  behind  him  in  delicate  art.”  — Lady  Dilke, 
French  engravers  and  draughtsmen  of  the  xvuith 
century,  p.  108. 

98.  Laborde,  Benjamin  de.  Choix  de 
chansons  mises  en  musique,  ornees  d’es- 
tampes  par  J.  M.  Moreau.  Paris,  1773. 
4 v.  (Cohen,  col.  534.) 

Illustrations  by  Moreau,  Le  Bouteux,  Le  Barbier, 
and  Saint-Quentin,  engraved  by  Moreau,  Masquelier, 
and  Nee.  Both  text  and  pictures  engraved  on  copper. 

Reproduction  (Rouen,  1881)  shown: 

Vol.  1,  title  and  the  portrait-frontispiece  by  Mas- 
qnelier  after  Denon;  v.  4,  p.  74-75,  L’Heureux  nau - 
frage,  by  Masquelier  after  Le  Barbier. 

A copy  of  the  original  is  in  the  Library’s  Spencer 
Collection. 

“This  book,  one  of  the  most  beautiful  of  the 
xvuith  century,  is  perhaps,  with  the  Contes  of  La 
Fontaine,  the  most  pleasing  of  that  period  by  the 
grace  of  the  subjects  and  the  variety  of  the  costumes 
represented.”  — Cohen,  col.  535. 

99.  Gessner,  Salomon.  CEuvres  com- 
pletes.  [Paris:  Cazin.j  3 v.  (Cohen,  col. 
432.) 

Illustrations  by  Marillier,  engraved  by  de  Ghendt, 
Delignon,  Duflos  jeune,  de  Launay,  and  de  Launay 
jeune. 

Vol.  1,  engraved  title-page  by  R.  de  Launay  le 
jeune  after  C.  P.  Marillier,  and  portrait  of  Gessner 
by  N.  de  Launay  after  Marillier. 


ILLUSTRATED  BOOKS  OF  THE  PAST  FOUR  CENTURIES 


19 


French  Books,  18th  Century,  continued. 

100.  Rousseau,  J.  J.  Collection  complete 

des  CEuvres  de  Rousseau.  Londres  [Bru- 
xellesj,  1774-83.  12  v.  (Cohen,  col.  908.) 

The  portrait  and  29  plates  by  Moreau, 
bound  in  a volume.  Some  of  the  plates 
lettered,  some  with  artists’  names  only. 
(S.  P.  Avery  Collection.) 

The  work  as  published  contained  portrait  of 
Rousseau,  engraved  by  A.  de  Saint-Aubin  after 
Latour,  12  fleurons  by  Choffard,  Le  Barbier,  and 
Moreau,  engraved  by  Choffard  and  Leveau,  and  37 
illustrations  by  Moreau  and  Le  Barbier,  engraved  by 
Choffard,  Dambrun,  Delauney,  Duclos,  Duflos,  Hal- 
bou,  Lemire,  etc. 

Tome  2,  p.282:  Plate  engraved  by  N.  De  Launay, 
1777. 

“In  1773 ...  Moreau  began  that  great  illustration 
of  the  Works  of  Rousseau,  which  he  understood  as 
no  other,  which  he  treated  with  passion  and  which 
is  one  of  his  best  claims  to  glory.”  — Portalis  and 
Beraldi,  Graveurs  du  18e  siecle,  v.  3,  p.  134. 

“Moreau’s. . .book-illustrations. . .in  which  he  treats 
ersonages  of  his  own  day,  wearing  the  costumes  of 
is  own  century  or  the  traditional  costumes  of  the 
French  stage  — which  were  incorporate,  so  to  say,  in 
the  daily  national  life  — are  invariably  the  best.  Like 
Gravelot,  Moreau  seems  bored  by  classic  drapery  and 
conventional  nudities.”  — Lady  Dilke,  French  en- 
gravers and  draughtsmen  of  the  xvmth  century, 
p.  141. 

“Let  us  place  here  the  warm  appreciation  which 
Moreau’s  daughter,  Mme.  Carle  Vernet,  has  offered 
to  her  father’s  talent: 

“ ‘In  this  prodigious  variety  of  subjects  of  all 
times  and  genres,  what  one  cannot  too  much  admire 
is  the  fecundity  and  the  flexibility  of  Moreau’s  talent.’ 

“Rousseau  had  no  more  intelligent  and  artistic 
interpreter...  The  designer  loved  Jean  Jacques.”  — 
Roger  Portalis,  Les  dessinateurs  d’illustrations  du  18e 
siecle  (1877),  v.  2,  p.  430-431. 

101.  Suite  d’estampes  pour  servir  a l’his- 
toire  des  moeurs  et  du  costume  des  fran- 
?ois  dans  le  xvuT  siecle.  Paris:  de  l’im- 
primerie  de  Prault,  imprimeur  du  Roy, 
1775.  (Cohen,  col.  352-363.) 

Lent  by  The  Pierpont  Morgan  Library. 

Les  Petits  Parains,  engraved  by  Baquoy  and  Patas, 
1777.  (From  the  “ Seconde  suite.”) 

The  “Seconde  suite”  appeared  in  1777,  the  “Troi- 
sieme  suite”  in  1783.  The  first  series  was  illustrated 
by  Freudeberg,  the  second  and  third  by  Moreau. 
Plates  engraved  by  Romanet,  L’Aine,  Lingee,  Ingouf, 
Martini,  Baquoy,  Guttenberg,  Delaunay.  Lambrun, 
Thomas.  Later,  the  worn  plates  served  for  Retif  de 
la  Bretonne’s  Monument  du  costume  physique  et 
moral. 

101a.  Two  plates  from  the  preced- 

ing: 

I-a  dame  du  Palais  de  la  reine.  P.  A.  Martini 
sculp.  1777.  (Seconde  suite.) 

Le  vrai  bonheur.  Simonet  sculp.  1782.  (3e  suite.) 

Lent  by  The  Pierpont  Morgan  Library. 

“A  great  group  of  artists  were  employed  by  Prault 
in  reproducing  the  famous  designs  made  by  his  bril- 
liant son-in-law,  Moreau,  for  the  ‘History  of  costume.’ 
This  costly  and  splendid  publication  is  not  only  the 
most  vitally  real,  but,  in  certain  aspects,  also  the 
most  dignified  representation  of  the  days  of  Louis 
XVI.” 

“In  the  ‘Monument  de  costume’  we  find  perhaps 
the  finest  example  of  the  brilliant  sincerity  of 
Moreau’s  work.  He  gives  us  no  mere  set  of  fashion 
plates  such  as  limited  the  ambition  of  the  publisher 
Eberts,  at  whose  instance  the  work  was  undertaken, 
but  a series  of  drawings  which  represent  phases  of 
the  life  of  a definite  social  class.”  — Lady  Dilke, 
French  engravers  and  draughtsmen  of  the  xvintb 
century,  p.  109,  141. 


102.  Figures  de  l’histoire  de  France,  des- 
sinees  par  Moreau  le  jeune  et  gravees  par 
Le  Bas,  avec  des  explications  par  l’abbe 
Gamier.  Paris:  Chez  Moreau  le  jeune, 
1785-90.  (Cohen,  col.  738.) 

The  engravers  were  Couche,  Dambrun,  Delignon, 
Delvaux,  Hemery,  Langlois,  Masquelier,  Pauquet, 
and  others. 

No.  82:  Retablissement  & clemence  de  Louis  le 
Debonnaire,  engraved  by  Garreau. 

“This  fine  collection  of  illustrations ...  was  not 
finished  by  Moreau,  and  does  not  go  beyond  the 
year  1356.”  — Cohen. 

103.  Tasso,  Torquato.  La  Jerusalem  de- 
livree,  poeme  traduit  de  l’italien  (par  Le 
Bruit).  Nouvelle  edition,  enrichie  de  la  vie 
de  Tasse  [par  Suard).  Paris:  an  xi  [1803j. 
2 v.  8°.  (Cohen,  col.  978.) 

Illustrations  by  Lebarbier,  engraved  by  Bovinet, 
Courbe,  Dambrun,  Delignon,  Delvaux,  de  Ghendt, 
Dupreel,  Langlois,  Thomas,  Triere,  Romanet,  Villerey. 
“This  edition  was  reprinted  with  the  same  illustra- 
tions in  1810.”  — Cohen. 

Pol.  1,  p.  142,  Chant  v.  Plate  engraved  by  Dupreel 
after  Le  Barbier  I'aine. 

104.  Virgil.  Les  Bucoliques  de  Virgile, 
traduites  en  vers  frangais  tpar  de  Langeacj. 
Paris:  Giguet  et  Michaud,  1806.  (Cohen, 
col.  1203.) 

Illustrations  by  J.  B.  Huet  and  Fragonard  fils, 
engraved  by  Copia. 

Eglogue  neuvieme,  plate  after  Huet. 

105.  Ovid.  Les  metamorphoses  d’Ovide. 
Traduction  nouvelle. . .par  G.  T.  Villenave, 
ornee  de  gravures  d’apres  les  dessins  de  Le 
Barbier,  Monsiau  et  Moreau.  Paris,  1806- 
07.  4 v.  8°.  (Cohen,  col.  773.) 

Engravings  by  Baquoy,  Courbe,  Dambrun,  Del- 
vaux, de  Ghendt,  Halbou,  Hulk,  Langlois,  R.  de 
Launay,  Malbeste,  Mariage,  Queverdo,  Thomas,  and 
Triere. 

V ol.  2,  p.  366,  no.  58.  Plate  by  L.  M.  Halbou  after 
Monsiau. 

106.  La  Fontaine.  Giuvres  complettes. 
Fables.  Paris,  1814.  (Cohen,  col.  586-587.) 

This_  edition  of  La  Fontaine’s  works  is  in  6 v., 
for  which  Moreau,  according  to  Cohen,  did  twenty- 
five  illustrations. 

Livre  vi.  Fable  \ hi:  Le  villageois  et  le  serpent, 
by  Ph.  Triere,  after  Moreau,  1812. 

107.  Chodowiecki,  Daniel.  One  of  the 
three  costume  plates,  Habillemens  Berli- 
nois,  in  the  Laucnburgcr  Kalendcr  for  1779. 
(Engelmann,  no.  255.)  One  of  the  twelve 
plates  of  historical  illustrations  in  the 
Gothaischer  Hof  Kalender  for  1790.  (En- 
gelmann, no.  614.) 

These  etchings  by  Chodowiecki  are  placed  here, 
with  the  French  work,  in  order  to  illustrate  the  use 
of  the  same  medium  with  quite  different  racial  ex- 
pression, and,  of  course,  without  the  characteristic 
grace  of  the  French  vignettes. 

“During  the  last  quarter  of  the  eighteenth  century, 
when,  in  France,  Moreau  le  Jeune  was  preparing 
his  incomparable  designs  to  ‘La  Nouvelle  Heloise’; 
when  the  famous  La  Fontaine  of  Eisen,  ‘dite  des 
Fermiers-Generaux,’  was  on  every  collector’s  table; 
when  Stothard  in  England  was  adding  a chastened 
charm  to  the  decoration  of  the  yet-young  novel  of 
manners;  and  Bewick  with  his  ‘Birds’  and  tailpieces 
was  inaugurating  the  long  triumphs  of  the  boxwood 
block,  there  was  living  quietly  at  Berlin... an  illus- 
trator. ..  possessing  some  of  the  distinctive  charac- 


20 


THE  NEW  YORK  PUBLIC  LIBRARY 


French  Books,  18th  Century,  continued. 

teristics  of  each.  His  name  was  Daniel  Nicolaus 
Chodowiecki . . . There  is  hardly  a known  name  in 
contemporary  literature  for  whose  work  his  busy 
needle  did  not  provide  embellishment  — good,  bad, 
and  indifferent.  . . His  true  sphere  lies  in  the  repre- 


sentation of  contemporary  manners  in  the  form  of 
book  illustrations.  . .and  his  work  is  strongest  when 
he  most  tenaciously  retains  his  hold  upon  the  every- 
day world  of  his  experience...  Chodowiecki  not 
only  sought  the  bourgeois,  but  he  found  what  he 
sought.”  — A.  Dobson,  Eighteenth  century  vignettes, 
p.  211,  218,  229-230. 


Line  Engraving  and  Mezzotint,  19th*  Century 

The  use  of  copper-plate  engraving  and  etching  persisted  well  into  the  nineteenth  century,  when  it 
produced  the  delicately  engraved  vignettes  after  J.  M.  W.  Turner  and  such  late  and  well  designed  illustra- 
tions as  Darley’s  for  J.  F.  Cooper’s  novels.  And  in  the  twenties  and  thirties,  England  and  America  had 
their  “Galleries”  and  “Annuals”  and  “Keepsakes,”  the  art  in  which,  fathered  by  able  artists  in  some 
cases,  in  others  was  sentimental  and  weak  to  mushiness.  These  “elegant  accessions  to  the  drawing-room 
table”  included  as  gift  books  even  glorifications  of  Greenwood  and  Auburn  cemeteries!  (See  no.  15-27.) 


108.  Beranger,  Pierre  Jean  de.  CEuvres 
completes.  Nouvelle  edition,  illustree  de 
52  belles  gravures  sur  acier . . . d’apres  les 
dessfns  de  MM.  Charlet,  A.  de  Lemud,  Jo- 
hannot,  Daubigny,  Pauguet,  Jacques,  Pen- 
guilly,  de  Rudder,  Raffet,  Sandoz.  Paris: 
Perrotin,  1847.  (Brivois,  p.  53-55.) 

Page  161:  Les  deux  grenadiers,  by  Pauguet,  en- 
graved by  Ed.  Willmann. 

109.  Rogers,  Samuel.  Italy,  a poem. 
London,  1830. 

Page  137:  Rome,  engraved  by  E.  Goodall. 

“Turner.  . .about  1830,  was  commissioned  by  Sam- 
uel Rogers,  the  banker,  connoisseur,  and  poet,  to 
furnish  illustrations  to  an  edition  de  luxe  of  his 
poems...  Stothard  was  allied  with  Turner ..  . No 
expense  was  spared  in  the  production  of  the  two 
volumes,  which,  thanks  to  Turner’s  illustrations,  were 
to  immortalize  the  poetry  of  Rogers.  . . Engraving 
on  steel  on  this  delicate  scale  was  a work  of  no  little 
difficulty...  The  painter  and  the  engravers  are 
seen  at  their  best.”  — W.  G.  Rawlinson,  The  en- 
graved work  of  J.  M.  W.  Turner,  London,  1908, 
preface. 

“Rogers’s  ‘Poems’  and  ‘Italy,’  with  vignettes  on 
steel  from  Stothard  and  Turner,  are  characteristic 
of  the  taste  of  the  period,  and  show  about  the  high- 
water  mark  of  the  skill  of  the  book  engravers  on 
steel.  Stothard’s  designs  are  the  only  ones  which 
have  claims  to  be  decorative,  and  he  is  always  a 
graceful  designer.  Turner’s  landscapes,  exquisite 
in  themselves,  and  engraved  with  marvellous  delicacy, 
do  not  in  any  sense  decorate  the  page.  . . Book  illus- 
trations of  this  type.  . .which  largely  prevailed  during 
the  second  quarter  of  the  century  — are  simply  pic- 
tures without  frames.”  — Crane,  p.  146. 

I3.  G.  Hamerton,  in  his  Life  of  Turner,  says:  “Of 
all  artists  I think  Turner  treated  the  vignette  most 
exquisitely.  . . Stothard’s  contributions,  though  often 
graceful  and  charming,  look  like  patches  on  the  page 
Here  we  have  clear  evidence  that  a great  scale 
is  not  necessary  to  the  production  of  a great  effect.  . . 


A very  grand  bit  of  supernaturalism  is  that  of  the 
armed  phantoms  passing  across  the  sky  after  sunset 
The  drawing  is  much  more  impressive  than  the 
verses.  The  superiority ..  .is  due,  I believe,  to  the 
greater  resources  of  mystery  which  the  painter  had 
at  his  disposal.” 

110.  Milton,  John.  Paradise  lost.  With 
illustrations  by  John  Martin.  London, 
1833. 

Plates  executed  in  mezzotint,  a medium  used  to 
some  extent  also  in  the  United  States  by  John  Sar- 
tain  and  others.  See  the  “Keepsakes,”  no.  17-20. 
Page  147. 

“John  Martin,  over  whose  ‘gorgeous  imagination’ 
James  Huneker  grows  eloquently  enthusiastic,  and 
who  himself  mezzotinted  some  of  his  vivid  concep- 
tions of  Old  Testament  scenes,  wide  sweeps  of  moun- 
tains and  sky,  teeming  with  armies,  with  angelic 
hosts  and  the  hordes  of  Satan.”  — Weitenkampf, 
p.  119. 

111.  Darley,  Felix  O.  C.  Illustration  for 
Dickens’  “Oliver  Twist,”  engraved  on  steel 
by  T.  Phillibrown.  Proof. 

“Steel  engraving  as  a means  of  illustration  sur- 
vived until  after  the  Civil  War.  So,  for  examp! 
in  certain  illustrations  by  F.  O.  C.  Darley,  among 
them  the  graceful  and  characteristic  vignettes  for 
the  edition  of  Dickens,  issued  by  Houghton  and 
Mifflin.”  — Weitenkampf  Graphic,  p.  207. 

112.  Andrews,  William  Loring.  The  old 
booksellers  of  New  York,  and  other  papers. 
New  York,  1895. 

Illustrated  with  engravings  by  Edwin  Davis 
French. 

Frontispiece. 

113.  — — — New  York  as  Washington  knew 
it  after  the  Revolution.  New  York,  1905. 

Frontispiece,  engraved  on  copper  by  Sidney  L. 
Smith. 


Etched  Illustration,  19th  Century 


114.  Mayhew,  Edward.  The  good-for- 
nothing.  With  an  illustration  by  G.  Cruik- 
shank.  (Bentley’s  Miscellany,  no.  19.  Lon- 
don, 1838.) 

Cruikshank's  illustration,  together  with  the  original 
etched  steel  plate. 

'Fhe  vivaciousness  of  George  Cruikshank  stands 
out,  in  such  light  and  charming  designs  as  his  “Puss 
in  Boots.”  In  his  “Oliver  Twist”  series,  on  the 
other  hand,  his  melodramatics  fail  to  convince.  A 
vein  of  somewhat  stagey  humor  pervades  the  illustra- 
tions of  the  group  of  men  wno  worked  with  his 
caricature  method,  notably  H.  K.  Browne  (“Phiz”) 
and  Robert  Seymour. 

“Scientist.  . . You  have  a humorous  author  who 
occasionally  passes  into  caricature,  but  who  is  not 


habitually  a caricaturist  in  his  writings.  You  want, 
however,  an  amusing  illustrator;  so  you  get  a cari- 
caturist. He  will  illustrate  some  passages  quite  in 
harmony  with  the  text,  but  his  drawings  will  have 
a general  aspect  of  caricature  not  in  general  harmony 
with  the  other . . . 

“Critic.  . . In  former  days,  when  Dickens  and 
Thackeray  were  publishing  their  novels  in  numbers, 
the  illustrations  were  always  caricatures,  and  Thack- 
eray himself  seems  to  have  had  no  other  idea  of 
illustration...  Hablot  Browne’s  designs  were  clever 
according  to  the  taste  of  the  day;  but  on  looking 
them  over  now  we  find  them  very  monotonous  in 
their  extravagance,  certainly  more  monotonous  than 
the  books  that  they  embellished.”  — P.  G.  Hamerton, 
Portfolio  papers,  p.  319-320. 

“It  is  quite  possible  that  the  revival  of  etching.  . . 
early  in  the  second  half  of  this  century,  had  influ- 
ence on  the  illustration  of  the  period...  Two  sori- 


ILLUSTRATED  BOOKS  OF  THE  PAST  FOUR  CENTURIES 


21 


Etched,  Illustration,  19th  Century,  continued. 

eties,  the  Etching  Club  and  the  Junior  Etching  Club, 
are  responsible  for  the  illustration  of  several  volumes, 
wherein  the  etched  line  is  used  in  a way  almost 
identical  with  the  same  artists’  manner  when  draw- 
ing for  the  engraver.”  — White,  p.  151-152. 

The  Etching  Club  illustrated  Milton’s  L’Allegro 
(1849),  Goldsmith’s  Deserted  Village  (1841,  1857), 
Gray’s  Elegy  (1847),  and  Shakespeare’s  Songs  and 
Ballads  (1853);  — the  Junior  Etching  Club,  Pas- 
sages from  Modern  English  Poets  (1862). 


115.  Flameng,  Leopold.  Etched  illustra- 
tions : 

Frontispiece  for  Delvau’s  “Les  dessous 
de  Paris,”  1862.  (Beraldi,  436.) 

Frontispiece  for  Delvau’s  “Le  fumier 
d’Ennius,”  1865.  (Beraldi,  437.) 

Frontispiece  for  Banville’s  “Nouvelles 
odes  funambulesques,”  1869.  (Beraldi, 
438.) 

Four  of  the  illustrations  for  the  “Theatre 
complet  de  Moliere”  (Paris:  Jouaust,  1876- 
83),  after  drawings  by  Louis  Leloir.  (Be- 
raldi, 528-531.) 

116.  Leloir,  Louis.  Illustration  for  Mo- 
liere’s  “Les  Precieuses  ridicules,”  etched  by 
Eugene  Andre  Champollion.  (See  Beraldi, 
v.  4,  p.  83.) 

117.  Sonnets  et  eaux-fortes.  Paris:  Al- 
phonse Lemerre,  1869.  (Brivois,  p.  375.) 

Illustrated  with  etchings  by  Boilvin,  Bracquemond, 
Flameng,  and  others. 

Etching  by  Millet. 

"Etching. . .competed  with  wood-engraving  as  an 
illustrative  medium... and  for  many  years  no  pre- 
tentious de  luxe  volume  was  complete  without  a 
series  of  eaux-fortes  by  some  eminent  etcher  or 
group  of  etchers.  Of  such  works  the  most  interest- 
ing. . .is  perhaps  Sonnets  et  eaux-fortes. . . The  Par- 
nassian poets,  having.  . .adopted  a descriptive  method 
based  mainly  on  visual  impressions,  recognized  a 
special  affinity  between  their  art  and  that  of  design. 
What,  therefore,  could  be  more  appropriate.  . .than 


an  active  alliance  between  the  two,  in  which  each 
should  supplement  the  other,  the  sharpness  of  the 
etched  line  deepening  the  impressions  of  form  and 
color  conveyed  more  faintly  by  the  words.”  — W.  A. 
Bradley,  in  Print-collector’s  quarterly,  v.  4.  n 184 
190. 

118.  Nerval,  Gerard  de.  Silvie.  Paris: 
Conquet,  1886. 

Illustrations  designed  and  etched  by  Edmond 
Adolphe  Rudaux. 

Lent  by  owner. 

Page  96. 

119.  Apuleius,  Lucius.  Amor  und  Psyche. 
Aus  dem  Lateinischen  von  R.  Jachmann. 
Ulustrirt  in  46  Original-Radirungen  und 
ornamentirt  von  Max  Klinger.  Miinchen 
1 1880,..  f°. 

Page  xxvm. 

120.  Histoire  du  Bonhomme  Misere.  Avec 
six  eaux-fortes  par  A.  Legros.  Londres, 
1877. 

Plate  v:  La  mort  dans  le  poirier. 

“The  few  prints  that  illustrate,  sometimes  with 
a conception  Durer-like  in  its  intensity,  sometimes 
with  vision  Rembrandt-like  in  its  tenderness -- the 
with  us  not  too  well  known  legend  of  Le  Bonhomme 
Misere.  These  are  ‘Le  voleur  de  poires,’  ‘La  Mort 
dans  le  poirier,’  and  the  .rare  and  touching  piece 
which  brings  before  us  the  visit  of  St.  Peter  and  St. 
Paul  to  the  Bonhomme  Misere’s  abode.”  — F.  Wed- 
more,  Etchings,  London  [1911],  p.  63. 

121.  Strang,  William.  Death  and  the 
ploughman’s  wife.  A ballad  made  and 
etched  by  William  Strang.  London,  1894. 

Title  and  frontispiece,  no.  115  and  116  in  L.  Bin- 
yon’s  Catalogue  of  Strang’s  work. 

Strang’s  other  sets  of  book-illustrations  in  etching 
published  in  book  form,  with  or  without  text,  include 
The  earth  fiend,  Paradise  lost,  Pilgrim's  progress. 
The  ancient  mariner,  Don  Quixote,  Kipling’s  Short 
stories.  Laurence  Binyon  says:  “A  stubborn  and 
persistent  racial  flavour  tinges  all  Mr.  Strang’s  work 
...  He  remains  always  a Lowland  Scot;  and  the 
people  he  etches,  though  they  may  play  a part  as 
Spanish  peasants  (Don  Quixote  series)  or  Indian  sol- 
diers (Kipling  set),  are  still  natives  of  that  south- 
western Scotland  which  gave  us  Burns’  songs.” 


Lithography  in  the  Service  of  Book-Illustration 


“The  history  of  the  reproductive  processes  is  to  a great  extent  the  history  of  book  illustration... 
Line-engraving,  etching,  mezzotint,  aquatint,  lithography  and  wood-engraving  have  each  had  its  period  of 
application  to  the  ever-present  demand  for  elucidation  or  adornment  of  the  printed  page  by  means  of 
picture  or  ornament.  To  a particularly  high  degree  is  this  true  of  wood-engraving.  . . It  long  held  practically 
undisputed  sway  until  it  was  supplanted  by  the  now  ubiquitous  half  tone.”  — Weitenkampf  Graphic,  p.  205. 

Lithography  had  its  period  in  this  field.  Baron  Taylor’s  monumental  and  voluminous  “Voyages 
pittoresques  en  France”  included  Bonington’s  wonderful  “Rue  du  Gros  Horloge.”  Delacroix  used  the 
stone  to  interpret  “Faust”  and  “Hamlet”  in  a spirit  of  “truculent  romanticism.”  Numerous  lithographic 
albums  saw  the  light,  a number  by  Charlet,  for  instance,  mainly  humorous  drawings  with  a line  or  two  of 
text  underneath.  Indeed,  lithography  became  quite  the  recognized  vehicle  for  caricature,  with  Daumier 
and  Gavarni  as  prominent  exponents. 


122.  Goethe,  J.  W.  von.  Faust,  traduite  en 
frangais  par  A.  Stapfer,  ornee  d’un  portrait 
de  l’auteur,  et  dix-sept  dessins. . .executes 
sur  pierre  par  E.  Delacroix.  Paris:  C. 
Motte,  1828. 

Page  62:  "Au  feu,  a Vaide.” 

“Beraldi  wrote:  ‘Delacroix’s  “Faust”  to-day  seems 
to  us  of  an  extravagant  romanticism.  Its  interest 
lies  precisely  in  this  violence.  It  was  the  profession 
of  faith  of  the  young  school...  At  that  moment  it 
was  not  a matter  of  being  reasonable  but  of  being 
“truculent.”  Delacroix  was  “truculent,”  but  he 
created  a revolution  in  art.’ 


Delacroix  saved  from  sinking  close  to  the  stencil  of 
the  romantic  vignettistes  — Gigoux,  Nanteuil,  Johan- 
not,  Boulanger,  Ziegler,  and  Deveria,  who  drew  the 
cover  design  for  this  ‘Faust’  set.”  — Print-collector’s 
quarterly,  v.  7,  1913,  p.  276-278. 

123.  Delacroix,  Eugene.  Macbeth.  Toil 
and  trouble. . .[1825.]  (Delteil,  L.  Le 
peintre-graveur  illustre,  v.  3,  no.  40.) 

124.  Hamlet  and  his  father’s  ghost. 

Je  suis  l’esprit  de  ton  pere . . . (1843. ] (Del- 
teil, no.  105.) 


“Now,  this  romanticism  had  at  times  an  outer 
form  which  only  the  vehemently  personal  touch  of 


The  series  of  Hamlet  illustrations,  begun  in  1834 
and  finished  in  1843,  comprises  16  compositions. 


THE  NEW  YORK  PUBLIC  LIBRARY 


Lithography  in  Book-Illustration,  continued . 

They  are  separate  sheets,  and  not  book  illustrations 
in  the  strict  sense  of  that  term. 

“No  doubts  arise  when  you  look  at  these  Shake- 
speare prints  from  the  purely  technical  standpoint. 
For  example,  in  the  one  showing  Hamlet  about  to 
follow  the  Ghost,  the  moonlight  about  the  latter  is 
thrown,  by  scratched  white  lines,  into  a quivering 
suggestion  of  movement,  a tremulous,  unreal  shim- 
mer. And  in  the  next  plate,  depicting  Hamlet  alone 
with  the  Ghost,  the  background  is  of  natural  ap- 
pearance, and  the  Ghost,  though  still  obviously  a 
spirit,  has  taken  on  more  reality  under  the  effect  of 
closer  communication.  Hamlet’s  attitude  is  quite 
natural,  although  his  waving  cloak  and  blowing  hair 
quaintly  suggest  the  ever-breezy  mise-en-scene  of  the 
‘movie.’  ” — Print-collector’s  quarterly,  v.  7,  1913,  p. 
280. 

125.  Bonington,  Richard  Parkes.  “Rue  du 
Gros  Horloge,  Rouen.”  1824. 

A plate  from  Baron  Taylor’s  voluminous  Voyages 
pittoresques  en  France,  described  in  the  Print-collec- 
tor’s quarterly,  v.  5,  p.  445-471,  as  “The  golden  book 
of  landscape  lithography.” 

“The  block  of  buildings  is  indicated  with  a sure- 
ness of  touch  that,  at  a little  distance,  indicates  a 
rich  detail  of  architectural  decoration,  which  on 
closer  view  dissolves  into  the  indefiniteness  of  at- 
mospheric effect.”  — Architectural  record,  Dec.,  1918, 
p.  556. 

126.  Isabey,  Eugene.  figlise  St.  Jean  a 
Thiers,  Auvergne.  1831. 

A plate  from  Baron  Taylor’s  Voyages  pittoresques 
en  France. 

127.  Charlet,  Nicolas  Toussaint.  Croquis 
lithographiques  a l’usage  des  enfants,  par 
Charlet.  [1826.] 

No.  10:  Le  deserteur.  (No.  654  in  Lacombe’s  cata- 
logue of  Charlet’s  works.) 

128.  Album  lithographique  par  Char- 

let. [1829., 

No.  8:  Ls  Cuirassier  z'au  4me.  (No.  734  in  La- 
combe's  catalogue.) 

Both  this  and  the  preceding  album  were  printed 
by  Villain  and  published  by  Gihaut  freres. 

During  the  twenties  and  thirties  of  the  nineteenth 
century,  the  Gihaut  Brothers  issued  albums,  of  which 
one  a year,  as  Mr.  Pennell  points  out,  was  for 
some  years  devoted  to  Charlet’s  drawings.  Not  a 
few  of  these  album  illustrations  by  Charlet  were  ob- 


viously experiments  in  the  use  of  various  lithographic 
methods.  Indeed,  as  Hediard  notes,  there  was  quite 
a bit  of  competition  between  printers  in  this  field; 
“receipts  were  made,  artists  of  renown  were  set  to 
experimenting  with  them,  albums  were  published  in 
order  to  bring  the  results  before  the  public.” 

The  soldier  of  France  wa’s  shown  at  home  and  in 
the  field,  in  camp  and  in  the  roar  of  battle,  by  Raffet, 
Bellange,  and  Charlet.  Through  these  pictorial  repre- 
sentations of  the  Grande  Armee  there  moves  the 
figure  of  him  who  gave  it  its  reputation,  the  “Little 
Corporal,”  idol  of  the  people. 

129.  Gavarni.  Promenade  du  matin. 

(Maherault  and  Bocher,  no.  164.) 

Appeared  in  L’ Artiste,  v.  4,  1832,  opposite  p.  24. 

130.  CEuvres  nouvelles.  Paris  [1851- 

54j.  18  v.  in  4. 

Masques  et  visages.  Les  Parens  terribles,  2. 

131.  II  lui  sera  beaucoup  pardonne 

parce  qu’elle  a beaucoup  danse. 

One  of  a series  of  forty  for  “D’apres  nature,  par 
Gavarni.  Texte  par  Janin,  St.  Victor,  Texier,  Gon- 
court.” 

“Gavarni’s  insight  into  human  nature  was  pro- 
foundly philosophical...  [He]  had  the  power  of 
expressing  what  he  saw  with  a magic  touch.  . . Satire 
is  the  foundation  of  his  work.  . . Gavarni  understood 
human  nature  in  all  its  phases.  Young  dandies,  old 
beaux,  young  women  and  old,  painters,  literary  men, 
labouring  classes,  vagabonds,  market  women,  beggars, 
thieves.  . .all  these  he  drew  with  the  greatest  possible 
truth,  with  a subtle  insight  into  their  ways  of  think- 
ing and  acting.”  — Atherton  Curtis,  Some  masters 
of  lithography,  New  York,  1897. 

132.  Darley,  Felix  O.  C.  Compositions  in 
outline  by  F.  O.  C.  Darley,  from  Judd’s 
Margaret.  Engraved  by  Konrad  Huber. 
New  York,  1856. 

“Engraving  or  etching  on  stone  consists  in  pre- 
paring the  stone  with  gum,  so  that  its  whole  surface 
would  refuse  to  take  ink.  Into  this  surface  the 
design  is  scratched  with  a point,  graver,  or  diamond, 
and  wherever  the  stone  is  thus  bared  it  will  take  ink.” 
— Weitenkampf,  p.  208. 

Margaret  and  Obed  encounter  the  Master  in  the 
wood. 

133.  Pennell,  Joseph.  A plate  from  the 
Devonshire  and  Cornwall  volume  in  the 
“Highways  and  byways”  series. 


French,  19th  Century:  Wood  Engravings 
(No.  148  Illustrated  by  the  Gili.ot  Process) 


134.  Moliere,  J.  B.  P.  de.  CEuvres  de 
Moliere,  precedees  d’une  notice... par  M. 
Sainte-Beuve.  Vignettes  par  Tony  Jo- 
hannot.  Paris:  Paulin,  1835-36.  2 v. 

Illustrations  engraved  on  wood  by  Andrew  Best, 
Leloir,  Maurissct,  Porret,  and  others. 

Lcs  Facheux,  act  in,  scene  v,  p.  407. 

135.  Le  Sage,  Alain  Rene.  Histoire  de 
Gil  Bias  de  Santillane.  Vignettes  par  Jean 
Gigoux.  Paris:  J.  J.  Dubochet  et  Cie.,  1838. 
(Brivois,  p.  259.) 

“Re-impression  of  the  edition  of  1835. 99 
Page  239. 

136.  Cervantes,  Miguel.  L’ingenieux  Hi- 
dalgo Don  Quichotte  de  la  Manche... 


traduit  et  annote  par  Louis  Viardot, 
vignettes  par  Tony  Johannot.  Paris:  J.  J. 
Dubochet  et  Cie.,  1836-37.  2v. 

Vol.  1,  frontispiece. 

137.  Saint-Pierre,  Jacques  Henri  Bernar- 
din  de.  Paul  et  Virginie.  Paris:  L.  Cur- 
mer,  1838.  (Brivois,  p.388-398.) 

Lent  by  The  Pierpont  Morgan  Library. 

Opened  to  show  three  cuts  after  Meissonier. 

“About  450  illustrations  inserted  in  the  text,  drawn 
and  engraved  by  French  and  English  artists;  Meis- 
sonier alone  drew  about  130  of  them.”  The  prospec- 
tus of  the  book  mentions  Tony  Johannot,  Frangais, 
Eugene  Isabey,  Paul  Huet,  Meissonier,  Laberge,  Mar- 
ville  as  the  illustrators,  and  states  that  “we  had  an- 
nounced 400  vignettes,  but  we  have  not  been  able 
to  resist  the  pleasure  of  filling  lacunae  for  which 


ILLUSTRATED  BOOKS  OF  THE  PAST  FOUR  CENTURIES 


23 


French,  19tli  Century:  Wood  Engr’s,  cont’d. 

Messieurs  the  artists  promised  us  wonders.”  Brivois 
calls  the  book  “The  pearl  of  xixth  century  illustrated 
books.” 

“In  1838  was  issued  a book  which,  in  drawing,  en- 
graving, and  printing,  completely  outdistanced  any- 
thing that  had  heretofore  appeared  in  England  or 
in  France;  Curmer’s  edition  of  ‘Paul  et  yirginie/ 
dedicated  by  a grateful  publisher,  ‘Aux  artistes  qui 
ont  eleve  ce  monument  typographique  a la  memoire 
de  J.  H.  Bernardin  de  Saint-Pierre.*  These  artists 
include  the  names  of  nearly  everyone  who  was  then, 
or  soon  became  famous  in  French  art.  The  book 
contains  marines  by  Isabey,  beautiful  landscapes  by 
Paul  Huet,  animals  and  figures  by  Jacque,  and 
above  all,  drawings  by  Meissonier,  who  contributed 
over  a hundred  to  this  story  and  to  the  ‘Chaumiere 
Indienne,’  published  under  the  same  cover.  All  the 
best  French  and  English  engravers  collaborated. 
Even  the  printing  was  excellent,  for  the  use  of  over- 
lays, made  by  Aristide  Derniame,  had  begun  to  be 
fully  understood.”  — Pennell,  p.  20-21. 

“Meissonier  in  France  and  Menzel  in  Germany 
were  above  all  things  consummate  draughtsmen. 
They  brought  into  their  work  not  only  style  but  truth. 
Illustration  under  their  hands  took  on  a new  lease 
of  life  and  suddenly  became  interesting  for  its  own 
sake.  They  showed  how  the  pen  drawing.  . .placed 
in  a book  at  the  service  of  another  man’s  ideas, 
could  nevertheless  have  its  individual  dignity  and 
beauty  as  a work  of  art.”  — R.  Cortissoz,  in  Annual 
of  the  Society  of  Illustrators,  1911,  p.  ix. 

138.  Les  Frangais  peints  par  eux-memes 
...  Paris:  L.  Curmer,  1841-42.  9 v.  (Bri- 
vois, p.  157-160.) 

Illustrations  by  Daumier,  Gavarni,  Meissonier,  and 
others. 

Vol.  2,  p.  277 : Le  sportsman  parisien,  by  Gavarni. 

139.  Los  Espanoles  pintados  por  si  mis- 
mos.  Madrid:  I.  Boix,  1843-44.  2 v.  8°. 

This  Spanish  book  is  similar  in  its  intent  and 
make-up  to  the  French  one  here  listed  — “Les  Fran- 
$ais  peints  par  eux-memes.”  The  illustrations  are 
engraved  on  wood  after  designs  by  L.  Alenza,  Mo- 
randa,  Zarza,  A.  Gomez,  Villegas,  Medina,  Rey,  Ur- 
rabieta,  Brabo,  and  Vallejo. 

Vol.  2,  p.75:  El  Segador,  by  Alenza. 

140.  Scenes  de  la  vie  privee  et  publique 
des  animaux.  Vignettes  par  Grandville. 
Etudes  de  moeurs  contemporaines  publiees 
sous  la  direction  de  P.  J.  Stahl...  Paris: 
J.  Hetzel  et  Paulin,  1842. 

Page  32. 

141.  Michelet,  Jules.  L’oiseau.  Huitieme 
edition,  illustree  de  210  vignettes  sur  bois 
dessinees  par  H.  Giacomelli.  Paris,  1867. 

Page  194:  title-page  and  half-title  to  2e  partie. 
‘‘One  of  the  finest  books  with  wood  engravings 
published  by  the  house  of  Hachette.”  — Brivois,  p. 
278. 

142.  Balzac,  Honore  de.  Contes  drola- 
tiques.  Sixieme  edition,  illustree  de  425 
dessins  par  Dore.  Paris,  no  date. 

Page  406. 

143.  Dore,  Gustave.  An  illustration  from 
Perrault’s  Contes.  Paris:  Hetzel,  1862. 
(Puss  in  Boots.] 

144.  A plate  from  “Orlando  Furi- 

oso.”  (Angelica  chained  to  the  rock.) 

“Gustave  Dore.  . . though  possessed  of  a weird  im- 
agination,  and  a poetic  feeling  for  dramatic  landscapes 
and  grotesque  characters,  as  well  as  extraordinary  pic- 
torial invention ...  never  shows  the  decorative  sense, 
or  considers  the  design  in  relation  to  the  page.”  — 
Crane,  p.  149. 


145.  Dante  Alighieri.  L’lnferno  di  Dante, 
colle  figure  di  G.  Dore.  Parigi:  L.  Hach- 
ette e C1*.,  1861. 

Page  82:  C.  xvn,  v.  7 and  8:  E quella  sozza,  etc. 

Dore,  grandiloquent,  forceful,  of  a magnificent 
pose,  with  a grand  style  which  danced  along  the  abyss 
of  mannerism.  Under  his  influence  his  engravers 
acquired  a technique  of  smooth  brilliancy.  They  had 
a full  understanding  of  the  advantage  of  speed,  and 
avoided  cross-hatching  like  poison. 

“Poet.  . . Dore,  with  his  coarse  interpretations 
of  the  poets,  is  an  active  evil  in  literature. 

“Scientist.  Is  it  not  possible  that  the  artist  may 
keep  alive  the  reputation  of  the  poet?.  . . The  readers 
of  Dante  are  not  very  numerous,  except  in  Italy... 
Dore  has  made  the  principal  scenes  in  the  ‘Inferno’ 
known  to  thousands.”  — P.  G.  Hamerton,  “Conversa- 
tions” on  book  illustration. 

“His  illustrations  to  the  Bible,  Dante  and  other 
books,  strong  and  dramatic  in  composition  and  ges- 
ture, in  the  suggestion  of  color  and  tone...  Only, 
the  fine  effect,  the  declamatory  gesture,  the  trick 
of  manner,  become  a little  monotonous  if  too  many 
of  these  pictures  are  looked  at  in  succession.”  — 
Weitenkampf,  p.  182. 

146.  Gavarni  in  London .. . Edited  by  Al- 
bert Smith.  London,  1849. 

Opened  at  p.  55:  Thieves. 

Plates  printed  with  a tint,  with  high-lights  in 
white.  Tint  printed  from  a second  block,  with  the 
lights  cut  out.  This  simplified  survival  of  the  old 
“chiaroscuro”  method  was  for  a while  a favorite  de- 
vice for  American  title-pages.  It  appears,  for  in- 
stance, in  the  “Ladies’  wreath  and  parlor  annual” 
issued  about  1850. 

147.  Gavarni.  CEuvres  choisies.  v.  1.  Les 
enfants  terribles.  Paris,  1846. 

“Adieu,  madame,  d bientot . . .”  Engraved  by 
Montigneul. 

148.  Havard,  Henry.  La  Hollande  a vol 
d’oiseau.  Eaux-fortes  et  fusains  par  Max- 
ime  'Lalanne.  Paris,  1881. 

As  Beraldi  points  out,  the  illustrations  are  not 
original  etchings,  but  reproductions  after  Lalanne. 

Page  57. 

“The  landscape  pen  draughtsman  of  France... is 
Maxime  Lalanne...  Without  his  beautiful  drawings 
Havard’s  Hollande  would  be  veritably  dead  as  the 
cities  of  the  Zuyder  Zee.  His  bird’s-eye  views  have 
made  them  live  again.  For  quick,  bright,  strong,  in- 
cisive work,  for  getting  at  the  essence  of  a thing 
with  sharp,  short,  brilliant  strokes,  perhaps  no  one 
can  equal  him.  The  only  possible  drawback  is  that 
there  is  too  much  Lalanne  in  it.  He  knew  too  well 
what  he  was  going  to  do.”  — Pennell  Pen,  p.  92. 

149.  Lepere,  Auguste.  L’abreuvoir  der- 
riere  Notre-Dame.  Soleil  couchant.  (No. 
264,  2d  state,  in  Lotz-Brissonneau’s  Cata- 
logue of  Lepere’s  work.) 

Appeared  in  Scribner's  magazine. 

150.  L’lmage,  vol.  for  Dec.,  1896-97.  Paris. 

This  review  was  published  under  the  artistic  super- 
vision of  Tony  Beltrand,  Auguste  Lepere,  and  Leon 
Ruffe. 

Page  259,  article  "Paris  pittoresque,  14  juillet  d 
Belleville.’'  IVood  engraving  by  Lepere. 

“When  wood-cut  illustration  enjoyed  its  last  tri- 
umphs, he  had  pushed  it  to  a virtuosity  and  a sup- 
pleness that  were  unsurpassable  in  sureness  and 
wonderful  skill. . . He  soon  took  up  wood  engraving 
again,  but  in  a direction  towards  the  primitive  cut 
ters  of  the  15th  century.  . . And  he  was  seized  by  a 
parallel  ambition;  to  bring  the  block  to  the  book 
again,  to  remake  the  illustrated  art-book,  the  fate  of 
which  seemed  so  compromised.  He  founded  that 
precious,  collection  L’lmage,  limited  to  twelve  num- 
bers... His  fancy  deploys  in  full  liberty  over  the 
pages  of  the  book,  advancing  familiarly  into  the 
midst  of  the  type,  fraternizing  with  the  text,  hob- 
nobbing with  his  collaborator,  the  writer.”  — Leonce 
Benedite. 


24 


THE  NEW  YORK  PUBLIC  LIBRARY 


German,  19th  Century:  Wood  Engravings 
(A  Few  Late  Ones  are  Illustrated  by  Photo-Mechanical  Process) 


151.  Der  Nibelungen  Noth,  illustrirt  mit 
Holzschnitten  nach  Zeichnungen  von 
Julius  Schnorr  von  Carolsfeld  und  Eugen 
Neureuther.  Die  Bearbeitung  des  Textes 
von  Dr.  Gustav  Pfizer.  Stuttgart  and  Tu- 
bingen, 1843. 

Page  281. 

152.  Schwind,  Moritz,  Ritter  von.  Der 
gestiefelte  Kater.  1850.  (Munchener  Bil- 
derbogen.  no.  48,  11.  Aufl.) 

In  the  woodcuts  after ..  .Alfred  Rethel,  Ludwig 
Richter  (a  joy  to  the  sympathetic  eye,  despite  his 
apparent  artlessness),  Schnorr  von  Carolsfeld  (whose 
Bible  pictures  have  in  recent  years  been  revived 
for  schoolroom  and  popular  use)  and  Moritz  von 
Schwind  there  are  indications  of  a national  feeling 
and  a return  to  simple  lines  and  facsimile  engraving. 

153.  Richter,  Ludwig.  Beschauliches  und 
Erbauliches.  Ein  Familien-Bilderbuch. 
Leipzig,  1860. 

“Ehre  sey  Gott  in  der  Hohe.”  Wood  engraving  by 
A.  Gaber. 

“Richter  was  not  a great  artist,  but  a lovable  one. 
His  pictures  are  convincing  because  they  record  ob- 
servations which  came  from  the  heart.  Ruskin  spoke 
of  his  lovely  and  numberless  imaginations  and  of 
his  remarkable  understanding  of  human  character. 
This  insight  into  character  is  especially  refreshing 
in  these  days  of  much  clever  and  meaningless  book 
and  magazine  illustration. ” — The  Lamp,  Sept.,  1904, 
p.  124. 

154.  Rethel,  Alfred.  [Ein  Todtentanz  aus 
dem  Jahre  1848...]  Leipzig  [1849]. 

Plate  2. 

Baudelaire  gives  much  space  to  Rethel’s  Dance  of 
Death  in  his  unfinished  essay  on  “Philosophical  art,” 
which  forms  part  of  his  volume  L’Art  romantique. 

155.  Schnorr  von  Carolsfeld,  Julius.  Die 
Bibel  in  Bildern.  240  Darstellungen,  auf 
Holz  gezeichnet.  Leipzig,  1860.  2 v. 

Die  Wiedererkennung  Josephs,  i Mose,  Cap.  45, 
v.  2,  3.  Engraving  by  A.  Gaber. 

156.  Kugler,  Franz.  Pictorial  history  of 
Germany  during  the  reign  of  Frederick  the 
Great...  Illustrated  by  Adolph  Menzel. 
With  five  hundred  original  designs.  Lon- 
don, 1845. 

Page  428,  chap.  33. 

An  English  translation  of  Kugler’s  “Friedrich  ii.” 
In  the  original  German  it  first  appeared  in  parts  in 
1840-42,  with  378  illustrations  instead  of  the  500 
named  in  the  prospectus.  The  Library  has  also  the 
German  “popular  edition”  of  1895. 

In  Germany,  Menzel  and  Ludwig  Richter  stand 
out,  different  and  typical.  Mcnzel’s  pen-drawings, 
full  of  spirit  and  thought,  laid  a heavy  burden  on 
the  engravers  through  copious  cross-hatching,  and 
were  marvelously  facsimiled.  Later  on  he  developed 
a free  and  rich  handling  of  the  pencil,  the  carpenter’s 
cncil,  we  are  told.  Richter  had  a simplicity  of 
andling,  an  open  line,  that  is  somehow  reminiscent 
of  the  sixteenth  century  men;  his  pictures  of  children 
arc  delightful. 

157.  Menzel,  Adolf.  Illustrations  des 
oeuvres  de  Frederic  le  Grand...  Gravures 


sur  bois  par  O.  Vogel,  A.  Vogel,  Fr.  Unzel- 
mann,  et  H.  Muller.  Paris,  1886.  2 v. 

Vol.l,  no.  171:  Voltaire  mort. 

These  200  illustrations  appeared  originally  in  the 
edition  of  the  king’s  writings  published  in  1843-56  in 
30  quarto  volumes.  This  edition,  as  well  as  a later 
issue  of  illustrations  1-148,  was  distributed  by  gift, 
and  therefore  not  accessible  to  the  general  public. 
In  1882  a separate  edition  was  prepared  from  the 
original  blocks,  with  German  and  French  text.  In 
1886  a cheaper  edition  in  two  volumes  was  printed 
from  the  electrotypes.  This  is  the  one  here  shown. 

“The  enormous  personality  of  one  who  might  be 
called,  without  exaggeration,  the  greatest  illustrator 
of  the  century.”  — White,  p.  150. 

The  ambidextrous  Adolf  von  Menzel,  who  ad- 
hered to  the  facsimile  method,  was  faithfully  repro- 
duced through  his  influence  over  the  engravers.  A 
style  which  took  no  special  account  of  the  nature  of 
the  block,  for  Menzel  simply  drew  spirited  pen-draw- 
ings, cross-hatched  where  he  found  it  necessary,  and 
for  the  rest  exacted  obedient  imitation  from  the  en- 
gravers, among  whom  F.  W.  Unzelmann  is  specially 
well  known. 

158.  Aus  Konig  Friedrich’s  Zeit. 

Kriegs-  und  Friedens-Helden  gezeichnet 
von  A.  Menzel,  in  Holz  geschnitten  von 
Eduard  Kretzschmar. . . Berlin,  1856. 

The  edition  “with  letters.”  There  was  also  an 
edition  “before  letters.” 

Opened  at  “Keith.” 

159.  Kleist,  Heinrich.  Der  zerbrochene 
Krug.  Berlin  [1877], 

For  this  “edition  de  luxe”  Adolf  Menzel  drew  30 
vignettes  which  were  engraved  on  wood,  and  four 
full-page  illustrations  which  were  reproduced  by 
photography. 

Page  22-23  : 6.  Auftritt. 

“Menzel ..  .taking  up  drawing  on  wood ..  .intro- 
duced exquisite  facsimile  work  into  his  own  country, 
educating  his  own  engravers,  Unzelmann,  Bentworth 
and  the  Vogels,  in  his  edition  of  the  ‘Works  of 
Frederick  the  Great.*  Later  on  he  drew  much  more 
largely  and  boldly  for  the  ‘Cruche  Cassee,’  which  was 
freely  interpreted  on  wood.  And  now  he  has  so 
arranged  his  beautiful  drawings  in  pencil  and  chalk 
that  they  come  perfectly  by  process.”  — Pennell, 
p.  74. 

Dorgerloh,  in  his  catalogue  of  Menzel’s  work,  de- 
plores the  fact  that  in  these  wood-engravings  there 
is  no  longer  really  fac-simile  work,  the  drawing  hav- 
ing not  been  altogether  put  on  the  block  in  definite 
lines,  but  large  surfaces  being  executed  in  wash, 
leaving  it  to  the  engraver  to  translate  these  washes 
into  lines.  To  go  further  into  this  matter  here  would 
mean  to  thrash  over  again  the  battles  fought  on  the 
advent  of  the  “New  School”  of  American  wood-en- 
gravers in  the  early  eighties  of  the  last  century.  It 
may  be  questioned,  however,  whether  Menzel’s  much 
cross-hatched  pen  drawing  would  not  have  been  more 
appropriate  in  these  days  of  process  reproduction, 
than  it  was  when  the  engravers  had  to  chip  out 
painfully  all  the  interstices  between  the  numerous 
crossing  lines. 

160.  Konewka,  Paul.  Illustrations  to 
Goethe’s  Faust...  The  English  text  from 
Bayard  Taylor’s  translation.  Boston,  1871. 

Silhouettes. 

Opened  at  vi. 

161.  Vogel,  Hermann.  A page  from  the 
“Hermann  Vogel  Album.”  Reproduced  in: 
T.  Kutschmann’s  “Geschichte  der  deut- 
schen  Illustration,”  v.  2,  p.269. 


ILLUSTRATED  BOOKS  OF  THE  PAST  FOUR  CENTURIES 


25 


German,  19th  Century:  Wood  Engr’s,  cont’d. 

162.  Fidus.  Title  of  “Die  occulte  Welt.” 
Reproduced  in:  O.  Grautoff’s  “Entwick- 
lung  der  modernen  Buchkunst  in  Deutsch- 
land,” Leipzig  [pref.  1901],  p.  113. 

163.  Pochhammer,  Paul.  Ein  Dantekranz 
aus  hundert  Blattern.  Ein  Fiihrer  durch 
die  “Commedia.”  Mit  100  Federzeichnun- 
gen  von  Franz  Stassen,  und  drei  Planen. 
Berlin,  1905-06. 

Page  155:  [Purgatory],  xxvin:  Monna  Vanna. 

164.  Die  Buecher  der  Bibel.  Hrsg.  von  F. 
Rahlwes.  Zeichnungen  von  E.  M.  Lilien. 
Braunschweig  [1908-12],  3 v. 

Vol.l,  p.lH7:  Miriam. 


165.  Musaeus,  Johann  Karl  August.  Ro- 
lands Knappen.  Ulustrirt  von  H.  Lefler 
und  Josef  Urban.  Wien,  1898. 

Page  22. 

166.  Boos,  Heinrich.  Geschichte  der 
rheinischen  Stadtekultur . . . Mit  Zeich- 
nungen von  Joseph  Sattler.  Berlin,  1897- 
1901.  4 v. 

Vol.  4,  p.  321. 

“The  most  rich  imagination,  governed  by  the  most 
sure  decorative  sense;  an  admirable  entente  of  com- 
position, the  idea  being  placed  in  relief  in  its  pleni- 
tude by  the  most  characteristic  arabesque  and  by  draw- 
ing of  a knowing  and  expressive  conciseness;  such,  in 
its  ensemble,  appears  the  art  of  Joseph  Sattler."  — 
Auguste  Marguillier,  in  Art  et  decoration,  v.  16,  1904, 
p.  109. 


English,  19th  Century:  Wood  Engravings 


167.  Select  fables;  with  cuts,  designed  and 
engraved  by  Thomas  and  John  Bewick, 
and  others,  previous  to  the  year  1784... 
Newcastle,  1820. 

Forms  v.  1 of  Bewick’s  Works,  1822. 

Page  119:  The  crow  and  the  pitcher. 

Wood-engraving,  after  leading  a precarious  exis- 
tence in  chap-books  and  the  like,  had  come  back. 
Hitherto,  line  drawings  on  the  block  had  been  ren- 
dered in  facsimile  by  the  engravers.  Thomas  Bewick 
adopted  box-wood  cut  across  the  grain,  and  the 
graver,  developing  wood-engraving  into  an  art  of 
tones  and  color-values,  and  not  only  of  lines.  The 
“white  line"  against  the  black  background,  reducing 
blacks  to  grays,  is  the  secret  of  this.  As  someone 
has  put  it,  formerly  the  block  was  treated  as  a white 
surface,  like  paper,  on  which  the  designer  obtained 
grays  and  blacks  by  increasing  the  number  of  hatch- 
ings and  cross-hatchings;  now  the  block  was  treated 
as  a black  surface,  and  the  color  was  lessened  in  pro- 
portion as  more  white  lines  were  cut.  Instead  of 
cutting  around  lines  to  throw  them  into  relief,  the 
engraver  now  could  simply  cut  lines  (like  the  copper 
plate  engraver)  into  the  surface  of  the  block,  thus 
reducing  to  lighter  tints  the  solid  black  which  would 
result  from  printing  if  the  surface  remained  quite 
untouched.  For  a while,  at  that  time,  the  charac- 
teristic nature  of  wood  engraving  was  not  understood 
by  certain  engravers  who  painfully  strove  to  imitate 
copper  engraving  on  the  wood  block. 

168.  Bewick,  Thomas.  General  history  of 
quadrupeds.  The  figures  engraved  on 
wood  by  T.  Bewick.  Second  edition. 
Newcastle  upon  Tyne,  1791. 

Page  301:  The  cur-dog. 

This  copy  was  owned  by  the  American  engraver 
A.  Anderson,  who  copied  the  cuts  for  the  American 
edition. 

169.  History  of  British  birds,  v.  1 : 

Land  birds.  Newcastle,  1826. 

“The  last  edition  published  in  Bewick’s  lifetime." 
— T.  Hugo,  The  Bewick  collector,  1866,  p.  43.  This 
book  has  a preliminary  title-page:  “Works  of  T. 
Bewick,  v.  3.  Newcastle,  1822."  First  published 
in  1797. 

Page  222 : The  wood  lark. 

170.  Eight  proofs  of  cuts. 

171.  Neptune  presenting  to  Britannia  his 
trident.  A plate  from  Oliver  Goldsmith’s 
“History  of  England.” 

Possibly  a later  issue  of  the  1795  edition  listed 
by  Thomas  Hugo  (“The  Bewick  collector,”  1866,  p. 


33-34),  who  says:  “Several  of  the  embellishments  of 
this  work,  which  are  printed  as  full-page  illustra- 
tions, are  by  Thomas  Bewick,  =and  bear  his  initials. 
The  majority  of  them,  however,  are  believed  to  be 
the  work  of  Luke  Clennell,  one  of  his  most  able 
apprentices,  Nesbit,  and  others.” 

“Bewick  founded  a school  of  very  excellent  crafts- 
men, who  carried  the  art  to  a wonderful  degree  of 
finish...  It  became  quite  distinct  from  literal  trans- 
lation of  the  drawing,  which,  unless  in  line,  was 
treated  by  the  engraver  with  a line,  touch,  and  qual- 
ity all  his  own,  the  use  of  white  line,  and  the  render- 
ing of  tone  and  tint  necessitating  a certain  power  of 
design  on  his  part.”  — Crane,  p.  145. 

172.  Rogers,  Samuel.  Poems.  London, 
1814. 

Page  146:  "To  the  gnat.” 

An  early  and  pleasing  example  of  nineteenth  cen- 
tury book  illustration,  facsimile  cuts  after  designs  by 
Thomas  Stothard,  intelligently  made  in  open,  un- 
crossed lines.  Quite  of  their  time,  these  drawings 
bring  a faint  flavor  of  the  spirit  animating  sixteenth 
century  work. 

173.  Assassination  of  L.  S.  Dentatus. 
Painted  by  B.  R.  Haydon.  Drawn  on  the 
wood,  and  engraved  by  his  pupil,  William 
Harvey.  1821. 

Lent  by  Mr.  I.  Ferris  Lockwood. 

Although  not  a book  illustration,  this  print  par- 
ticularly well  exemplifies  the  tendency  of  certain 
British  wood-engravers  to  copy  the  effect  of  line 
engravings  on  copper. 

“The  imitation  of  the  manner  of  copper  plate, 
which  Branston  introduced,  became  common,  and  was 
developed  in  the  work  of  Orrin  Smith  and  William 
Harvey,  in  which  wood-engraving  lost  its  distinctive 
virtues.  This  school,  nevertheless,  was  popular,  and 
its  engravings  were  used  to  illustrate  important  works 
to  which  for  a long  time  copperplate-engraving  alone 
had  been  considered  equal;  thus  wood-engraving  once 
more  encroached  upon  its  rival’s  ground.”  — Wood- 
berry,  p.  167. 

In  every  graphic  art,  the  medium  (that'  is,  the 
tools  and  the  substance  on  which  they  are  applied) 
both  through  its  nature  and  the  manner  in  which  it 
is  manipulated,  imposes  itself  upon  the  result  to  be 
attained.  To  engrave  on  wood  with  the  methods  of 
copper  engraving  is  much  like  attempting  to  speak 
English  by  the  rules  of  French. 

“The  wood  engraver.  . .strove  to  compete  with  the 
steel  engraver,  and  so  it  came  about  that  many  fine 
volumes  with  illustrations  printed  on  india-paper  were 
issued  havin  wood  engravings  as  intricate  as  steel 
engravings.”  Hayden,  p.  94. 


26 


THE  NEW  YORK  PUBLIC  LIBRARY 


English,  19th  Century:  Wood  Engr’s,  cont’d. 

174.  The  Thousand  and  one  nights,  com- 
monly called  the  Arabian  nights’  entertain- 
ments. Translation  by  E.  W.  Lane.  Illus- 
trated by  many  hundred  engravings  on 
wood,  from  original  designs  by  William 
Harvey.  London,  1839. 

Vol.  1,  p.  175:  The  story  of  the  second  royal  mendi- 
cant. 

“Many  of  the  engravings ...  will  considerably  as- 
sist to  explain  text  and  notes;  to  ensure  their  ac- 
curacy, I have  supplied  the  artist  with  modern  dresses 
and  other  requisite  materials.”  — Translator’s  pref- 
ace, p.  xxi. 


No:  175-198  are  devoted  to  the  “men  of 
the  sixties,”  who  are  dealt  with  fully  in 
Gleeson  White’s  English  illustration,  “the 
sixties”:  1855-70,  Westminster,  1897. 

“Tn  England,  from  1860  to  1870,  some  very  re- 
markable drawings  were  made  and  engraved  upon 
the  block.  During  the  years  just  before  the  intro- 
duction of  photography.  Walker,  Pinwell,  Keene, 
Sandys,  Shields  and  Du  Maurier  were  illustrating. 
To  a certain  extent,  they  seem  to  have  insisted  upon 
their  work  being  followed.”  — Pennell,  p.  39— 40. 

“In ...  English  illustration  of  the  sixties. . .some 
very  interesting  individualities  expressed  themselves 
— Keene,  Millais,  Houghton,  Walker,  Sandys.  The 
facj  that  many  of  these  engravings  were  published 
in  magazines  does  not  lessen  their  art  value.  On 
the  other  hand,  not  all  is  good,  for  the  engravers 
got  into  bad  habits  of  ‘near  enough’  facsimile^  as 
Linton  called  it.  The  Dalziels. . .have  been  especially 
berated.  . .and  we  have  stories  of  Leech,  Rossetti  and 
other  artists  who  bewailed  the  havoc  their  drawings 
underwent  at  the  hands  of  the  engravers.  But  were 
the  artists  entirely  without  blame?  Did  they  not 
sometimes  put  down  unintelligible  networks  of  sense- 
less and  needless  cross-hatched  lines,  with  all  that 
such  lines  implied  in  the  way  of  increased  work  on 
the  block? 

‘‘Ruskin  once  figured  out  that  in  a certain  drawing 
by  Tenniel,  in  Punch,  1863,  two  square  inches  <pf 
shadow  are  cross-hatched  with  three  sets  of  lines,  ‘in 
the  most  wanton  and  gratuitous  way,’  making  it 
necessary  for  the  engraver  to  cut  out  about  1,050 
interstices.  And  if,  in  addition,  the  block  was  then 
cut  up  into  little  square  sections  which  were  handed 
to  different  engravers,  what  could  be  expected?”  — 
Weitenkampf,  p.  183-184. 

“The  school  of  wood  engraving  after  these  great 
designers. . .offers  remarkable  examples  of  this  art. 
Unfortunately  bad  printing  and  bad  paper  have  les- 
sened the  artistic  excellence  to  a very  considerable 
degree.  It  is  almost  wonderful  that  the  printers  did 
not  batter  the  wood  blocks  out  of  all  recognition... 
But  we  must  be  thankful  for  what  is  now  remaining 
as  an  inadequate  record  of  a great  period  of  English 
design  when  the  achievements  of  one  or  two  of  the 
greatest  among  the  men  who  drew  on  the  wood  block 
entitle  them  to  be  regarded  as  in  the  first  rank.”  — 
Hayden,  p.  109. 

175.  Rossetti,  Dante  Gabriel.  The  maids 
of  Elfenmere.  Illustration  for  a poem  by 
Wm.  Allingham,  in  the  “Music  master” 
(1855).  Engraved  by  Dalziel.  Proof. 

“Rossetti's  first  work  for  the  wood-engraver... 
He  came  into  the  position  peculiar  to  the  illustrator 
by  whom  an  idea  conceived  by  another  is  given  a 
fresh  interpretation,  and  who  in  turn  must  submit 
his  own  interpretative  idea  to  the  artist  who  makes 
the  woodblock...  Dalziel  writes  concerning  it  that 
it  was  ‘a  remarkable  example  of  the  artist  being  al- 
together unacquainted  with  the  necessary  require- 
ments in  making  a drawing  for  the  engraver’s  pur- 
poses.’... Rossetti  writes  to  Allingham  confessing 
to  a share  in  the  responsibility,  but  is  definite  as 
to  the  wood-engraver's  sins... 

“Rossetti  groaned  in  anguish  over  his  martyred 


designs  for  Allingham’s  ‘Poems’  and  burst  out  in 
parody : 

O woodman,  spare  that  block, 

O gash  not  anyhow. 

It  took  ten  days  by  clock, 

I’d  fain  protect  it  now. 

Chorus:  Wild  laughter  from  Dalziel' s workshop. 

Yet  I have  seen  one  of  these  drawings  reproduced 
in  half-tone  from  the  design  made  before  the  block 
was  cut,  and  in  comparison  with  the  wood-engraving 
from  the  same  design,  copied  on  the  block,  have  found 
it  rather  spiritless  in  spite  of  its  daintier  draftsman- 
ship and  more  intricate  invention.  Dalziel  was  an 
artist  and  his  hand  knew  its  duty  — to  create  life, 
let  what  must  go  to  the  wall.”  — E.  L.  Cary,  in 
Print-collector’s  quarterly,  v.  S,  1915,  p.  320,  323, 
324. 

Gleeson  White  quotes  W.  M.  Rossetti  as  saying: 
“He  probably  exasperated  Dalziel,  and  Dalziel  cer- 
tainly exasperated  him.”  Ruskin,  in  the  appendix 
to  his  Elements  of  drawing  refers  to  the  had  cutting 
of  the  first  design  for  Tennyson’s  Palace  of  art. 

176.  Proofs  of  four  illustrations: 

“Golden  head  by  golden  head”  (title  de- 
sign) and  “Buy  from  us  with  a golden 
curl,”  for  The  Goblin  Market  (1862);  and 
“The  long  hours  come  and  go”  (title  de- 
sign), and  “You  should  have  wept  her 
yesterday,”  for  The  Prince’s  Progress 
(1866),  both  books  by  Christina  Rossetti. 

Among  the  writings  on  Rossetti’s  illustrations  is 
chapter  3 in  William  Sharp’s  Dante  Gabriel  Rossetti, 
London,  1882. 


177.  Tennyson,  Alfred.  Poems.  London: 
Moxon,  1857. 

Illustrated  by  D.  G.  Rossetti,  J.  E.  Millais,  W. 
Mulready,  T.  Creswick,  D.  Maclise,  W.  H.  Hunt, 
C.  Stanfield,  and  J.  C.  Horsley. 

Page  75:  The  Lady  of  Shalott,  by  D.  G.  Rossetti, 
engraved  by  the  brothers  Dalziel. 

178.  Millais,  Sir  John  E.  The  day  dream. 
Illustration  on  p.  317  of  the  Moxon  Tenny- 
son (no.  177  in  this  list). 

Proof,  in  scrap-book  made  by  W.  J.  Linton  with 
ms.  title:  “Engravings  on  wood,  my  own  work  in 
England.”  It  is  pasted  on  sheet  29,  where  it  is 
credited  to  Rossetti. 

Another  lot  (30  pieces)  of  engravings  by  Linton, 
bound  in  a volume,  and  formerly  in  the  possession 
of  the  late  Samuel  P.  Avery,  also  contains  a proof 
of  this  cut,  likewise  credited  to  Rossetti.  It  is 
“touched”  and  has  notes  for  the  engraver  on  the 
margins.  It  was  lent  for  the  Rossetti  Exhibition  held 
by  the  Library  in  the  Lenox  Library  Building  in 
1902. 

“Moxon’s  Tennyson  containing  Rossetti’s  drawings 
for  ‘The  Palace  of  Art’  and  ‘Sir  Galahad’;  Millais’ 
‘St.  Agnes’  Eve,’  and  Holman  Hunt’s  ‘Lady  of  Sha- 
lott.’ These  drawings  and  a few  others  have  given 
to  the  book  a fame,  among  illustrated  volumes,  which 
it  has  no  right  or  claim  to.”  — Pennell,  p.  88-89. 

“It  satisfies  no  decorative  ideal  as  a piece  of  book- 
making.”— Gleeson  White,  p.  105. 

“This  work,  while  having  the  general  characteris- 
tics of  the  prevailing  taste  - — an  accidental  collection 
of  designs,  the  work  of  designers  of  varying  degrees 
of  substance,  temper,  and  feeling. . .without  the  slight- 
est feeling  for.  . .harmony  of  text  and  illustration  — 
yet  possessed  one  remarkable  feature  which  gives  it 
a distinction  among  other  collections,  in  that  it  con- 
tains certain  designs  of  the  chief  leaders  of  the 
pre-Raphaelite  movement,  D.  G.  Rossetti,  Millais, 
and  Holman  Hunt.”  — Crane,  p.  150. 

“The  revolution  which  the  pre-Raphaelites  were 
bringing  about  by  their  interpretative  and  symbolic 
method,  their  personal  points  of  view. . .showed  itself 
clearly... in  the  Tennyson,  1857.  There  the  pre- 
Raphaelites  worked  side  by  side  with  some  of  the 
older  men  who  still  carried  out  the  traditions  which 
they  were  discarding.  . . The  pre-Raphaelites  had 


ILLUSTRATED  BOOKS  OF  THE  PAST  FOUR  CENTURIES 


27 


English,  19th  Century:  Wood  Eng/s,  cont’d. 

something  to  say  very  pertinent  to  the  subject  in 
hand,  the  rest  nothing... to  show  that  they  had  any 
sense  that  they  were  illustrating  not  nature  but 
literature.  The  illustrations  of  the  pre-Raphaelites 
were  personal  and  intellectual  readings  of  the  poems 
to  which  they  belonged.”  — L.  Housman,  Introduc- 
tory essay,  in  “Arthur  Boyd  Houghton,”  1896,  p.  13. 

The  Moxon  Tennyson  introduces  the  noteworthy 
group  known  as  the  men  of  the  “Sixties,”  essentially 
British  in  the  spirit  of  its  entirety,  and  strongly 
individual  in  its  members.  The  massive  straight- 
forwardness of  J.  E.  Millais,  the  flowing  grace  of 
Du  Maurier’s  early  work,  the  energetic  thrust  of  A. 
Boyd  Houghton  (sometimes  to  be  forcibly  adjusted 
to  that  age  of  crinolines  and  croquet),  the  sure 
characterization  of  Keene  (that  most  noteworthy  of 
Punch  artists,  who  could  set  a “comic”  in  a landscape 
of  summarily  indicated  charm),  — these  are  things 
to  be  enjoyed. 

179.  Poets  of  the  nineteenth  century.  Se- 
lected and  edited  by  Rev.  R.  A.  Willmott. 
Illustrated  with  one  hundred  engravings, 
drawn  by  eminent  artists,  and  engraved  by 
the  brothers  Dalziel.  London,  1857. 

The  illustrators  were  Birket  Foster,  W.  Harvey, 
J.  D.  Harding,  H.  Weir,  J.  E.  Millais,  J.  Tenniel,  J. 
Gilbert,  James  Godwin,  E.  H.  Corbould,  G.  Dodg- 
son,  J.  R.  Clayton,  and  others’.  A somewhat  mixed 
lot,  including  men  of  the  older  school  and  the  new. 

Page  123:  The  dream,  by  Byron,  illustration  by 
J.  E.  Millais. 

“Early  drawing  by  Millais. . . There  is  a simplicity 
and  a directness  of  sentiment  in  the  drawing,  and  a 
suggestion  of  pathos  conveyed  by  the  masterly  lines 
which  it  is  difficult  to  believe  ever  proceed  from 
the  epoch  in  which  the  lustre  ornament  and  the  wax 
fruits  under  glass  shade,  the  Windsor  chair  and  the 
antimacassar  were  the  prevailing  features.”  — Hay- 
den, p.  107. 

180.  Once  a week,  v.  4,  Dec.,  1860 -June, 
1861.  London. 

Page  603:  On  her  death-bed,  by  George  Du  Mau- 
tier. 

Other  illustrators  in  this  volume  are  H.  K.  Browne, 
J.  Leech,  Morten,  H.  J.  Hine,  W.  Harvey,  J.  W. 
Brooks,  H.  Weir,  M.  J.  Lawless,  C.  Green,  F. 
Walker,  Tenniel,  Sandys,  and  C.  Keene. 

181.  Once  a week,  v.  6,  1861-62.  London. 

Page  183:  Illustration  by  Frederick  Sandys  for 
George  Meredith’s  poem  "The  old  Chartist,"  engraved 
by  Swain. 

“From  the  time  Once  a week  started,  to  the  pres- 
ent, the  bulk  of  illustrations  of  any  merit  have  been 
issued  in  serial  publications...  It  is  a healthy  sign 
to  find  people  interesting  themselves  in  the  books 
of  the  sixties;  it  should  make  them  more  eager  for 
original  contemporary  work,  and  foster  a dislike  to 
the  inevitable  photograph  from  nature  reproduced  by 
half-tone...  Then,  as  now,  a vast  army  of  quite 
second-rate  draughtsmen  were  available...  The  dan- 
ger lies  rather  in  appreciating  too  much,  whether 
of  ‘the  sixties’  or  ‘the  nineties’;  yet,  if  one  is  stoical 
enough  to  praise  only  the  best,  it  demands... no 
little  hardness  of  heart.  The  intention  always  pleads 
to  be  recognized.”  — White,  p.  9,  14,  IS. 

182.  Once  a week,  Aug.  16,  1862. 

Page  210:  The  morning  before  the  Massacre  of 
St.  Bartholomew,  by  Whistler , engraved  by  Swain. 

183.  Proof  of  the  same  illustration, 

signed  by  the  artist  and  inscribed  in  pencil: 
“The  white  girl.” 

" ‘Once  a week’  was  started  by  Bradbury  and 
Evans,  and  the  first  volume  contained  illustrations 
by  H.  K.  Browne  (“Phiz”),  G.  H.  Bennett,  W. 
Harvey,  Charles  Keene,  W.  J.  Lawless,  John  Leech, 
Sir  J.  E.  Millais,  Sir  John  Tenniel,  J.  Wolf;  this 


is  the  veritable  connecting  link  between  the  work  of 
the  past  as  exemplified  by  Harvey,  and  of  the  pres- 
ent by  Keene.”  — Pennell,  p.  89. 

184.  Dalziel,  George,  and  E.  Dalziel.  The 
brothers  Dalziel:  a record  of  fifty  years’ 
work  in  conjunction  with  many  of  the  most 
distinguished  artists  of  the  period,  1840- 
1890...  London,  1901. 

Page  42:  A ball-room,  by  Frederick  Walker , illus- 
tration from  “London  society /* 

185.  Good  words  for  1862.  London. 

Page  657 : " Out  among  the  wildf  lowers,”  by  Fred- 
erick Walker,  engraved  by  Dalziel. 

“Walker  was  purely  English  in  his  instincts. 
‘More  almost  than  any  other  painter  of  similar  rank,’ 
one  of  his  critics  says,  ‘did  he  depend  on  “feeling” 
for  success,’  and  if  the  feeling  often  dips  down 
toward  sentimentality  it  not  less  often  rises  to  sin- 
cerest  sentiment,  as  in  The  Old  Gate...  He  drew 
for  ‘Once-a-week,’  ‘Good  words,’  and  the  ‘Cornhill 
magazine,’  all  periodicals  concerned  with  the  forma- 
tion of  the  new  strong  school  of  English  book  illus- 
tration  From  Walker’s  work  on  wood,  more  or 

less  mutilated  by  the  engraver,  one  cannot  gain  a 
just  impression.  Work  as  sensitive  and  tender  as 
Walker’s  at  its  best  loses  the  most  important  elements 
of  its  charm  in  translation.  Photographs  of  some 
of  his  drawings  on  wood  exist,  and  show  how  deftly 
he  felt  his  way  with  pencil,  pen,  and  brush  to  a 
result  appallingly  difficult  to  interpret.  He  is  said 
to  have  been  the  first  to  introduce  brush-work  into 
his  wood  drawing,  using  the  spreading  of  the  brush 
to  give  texture...  If  Walker  was  romantic  about 
England  it  came  from  his  deep  love  for  all  that  is 
lovely  there.”  — E.  L.  Cary,  in  Print-collector’s  quar- 
terly, Dec.,  1917. 

186.  Good  words  for  1863.  Edited  by 
Norman  Macleod,  and  illustrated  by  J.  E. 
Millais,  John  Tenniel,  J.  D.  Watson,  T. 
Morten,  F.  Sandys,  John  Pettie,  and  others. 

Frontispiece : The  labourers  in  the  vineyard,  by 
J.  E.  Millais,  engraved  by  Dalziel  brothers. 

187.  Cornhill  magazine,  v.  14,  July -Dec., 
1866.  London. 

Page  331:  Cleopatra,  by  Frederick  Sandys,  en- 
graved by  Dalziel. 

“His  work  throughout  shows  close  archaeological 
study.  The  Cleopatra,  which  Dalziel  praises  for  its 
‘dignity  and  grandeur  of  design/  is  a notable  illus- 
tration of  his  zest...  Only  from  a mind  filled  with 
pictures  of  characteristic  ornament,  could  he  have 
contrived  such  an  amplitude  of  authentic  detail  as 
he  has  put  into  this  full,  but  well  balanced  and 
logical,  composition...  He  was  a decorator  who  in- 
variably illustrated  rather  than  expressed  emotion . . . 
The  method  in  his  woodcuts  is  direct  and  vigorous. 
After  making  his  preliminary  drawing  in  pen  and 
ink  on  millboard,  he  worked  directly  on  the  block, 
drawing  his  design  line  by  line  with  a fine  brush 
and  Indian  ink.  His  work  was  admirably  adapted 
to  reproduction.”  — E.  L.  Cary,  in  Print-collector’s 
quarterly,  April,  1917. 

188.  Cornhill  magazine,  v.  11,  Jan. -June, 
1865.  London. 

Page  564:  Wives  and  daughters,  illustration  by 
George  Du  Maurier,  engraved  by  Swain. 

189.  Foster,  Birket.  Pictures  of  English 
landscape,  engraved  by  the  brothers  Dal- 
ziel; with  pictures  in  words  by  Tom  Tay- 
lor. London  [1862j. 

Plate  5:  The  gleaners  at  the  stile. 

“Contains  thirty  singularly  fine  drawings  engraved 
by  Dalziels,  of  which  the  editor  says:  ‘It  is  still  a 
moot  point  among  the  best  critics  how  far  wood- 


28 


THE  NEW  YORK  PUBLIC  LIBRARY 


English , 19th  Century:  Wood  Engr’s,  cont’d. 

engraving  can  be  profitably  carried  — whether  it  can 
attempt,  with  success,  such  freedom  and  subtlety  of 
workmanship  as  are  employed,  for  example,  on  the 
skies  throughout  this  series,  or  should  restrict  itself 
to  simple  effects,  with  a broader  and  plainer  manner 
of  execution.’  ” — White,  p.  117. 

190.  Arabian  nights.  Dalziels’  illustrated 
Arabian  nights’  entertainments.  The  text 
revised  and  emendated  throughout  by  H. 
W.  Dulcken,  with  upwards  of  two  hundred 
illustrations  by  eminent  artists.  Engraved 
by  the  brothers  Dalziel.  London  [1863-65]. 

Illustrated  by  A.  Boyd  Houghton,  T.  Morten,  Sir 
J.  E.  Millais,  J.  D.  Watson,  Sir  J.  Tenniel,  T.  Dal- 
ziel, G.  J.  Pinwell. 

Page  49:  Zobeide  prepares  to  whip  the  dogs,  by 
A.  Boyd  Houghton,  engraved  by  Dalziel. 

“The  aim  of  his  technique,  to  make  realism  and 
style  compatible  with  one  another...  For  texture, 
intricate  blendings  of  form,  the  quantities  of  at- 
mosphere and  sunlight,  his  eye  had  all  the  keenness 
of  a realist’s.  For  flow  of  line,  disposition  of  mass 
or  balance  of  tone,  he  was  a stylist  and  designer, 
working  in  decorative  values  to  a decorative  effect. . . 
Much  of  his  handling  has  the  qualities  that  belong  to 
a brilliant  sketch  rather  than  to  a finished  drawing.  . . 
Passing  from  technique,  one  comes  to  the  main 
intellectual  interest  of  Houghton’s  work,  its  imag- 
inative force  and  vitality  as  an  illustration  of  its 
subject...  It  was  his  habit  to  draw  his  illustrations 
straight  upon  the  wood  without  any  preliminary 
sketches.  . .”  — Laurence  Housman,  Introductory  es- 
say in  “Arthur  Boyd  Houghton:  a selection  from  his 
work  in  black  and  white,  printed  for  the  most  part 
from  the  original  wood-blocks,”  London,  1896. 

191.  The  Parables  of  Our  Lord.  With  pic- 
tures by  John  Everett  Millais,  engraved  by 
the  brothers  Dalziel.  London,  1864. 

Page  33:  The  lost  piece  of  silver. 

192.  Twenty  India  paper  proofs  of  the 
drawings  by  J.  E.  Millais  to  the  Parables. 
With.  . .twenty  autograph  letters  (in  fac- 
simile) from  Millais  to  the  Dalziels  during 
the  progress  of  the  work.  [Hampstead, 
1904., 

“The  Parable  of  the  unmerciful  servant and 
letter  of  Jan.  13,  1858:  “I  am  delighted  with  the 
cutting  of  the  three  Parables.  There  are,  however, 
a few  corrections  to  hack  which  will  materially  im- 
prove them ...” 

“They  were  not  indeed  ordinary  illustrations,  and 
Millais  might  well  have  been  content  to  have  his 
fame  as  an  illustrator  rest  on  these  magnificent  ar- 
rangements of  flowing  line.  In  ‘The  lost  piece  of 
silver’  the  curves  of  the  woman’s  bending  figure, 
contrasted  with  the  strong  straight  line  of  the  broom 
and  the  rectangular  opening  in  the  wall,  make  as 
fine  a composition  as  can  be  found  in  the  whole 
range  of  British  art.”  — E.  L.  Cary,  in  New  York 
Times,  Aug.  10,  1919. 

“The  prc-Raphaelites  gave  the  first  direct  impulse 
to  the  newer  school.  That  their  work  set  going  the 
impulse  which  in  Kelmscott  Press  editions,  the 
Birmingham  School,  the  Vale  Press,  Beardsley,  Brad- 
ley, and  a host  of  others  on  both  sides  of  the  At- 
lantic, is  ‘the  movement’  of  the  moment  is  too  obvi- 
ous to  need  stating.  But  for  ‘the  sixties’  proper, 
the  paramount  influence  was  Millais  — the  Millais 
after  the  pre  Raphaelite  Brotherhood  had  disbanded. 
Despite  a very  ingenious  attempt  to  trace  the  influ- 
ence of  Menzel  upon  the  earlier  men,  many  still 
doubt  whether  the  true  pre-Raphaelites  were  not 
quite  ignorant  of  the  great  German...  If  a foreign 
source  must  be  found,  Rethel  seems  a far  more 
possible  agent.”  — White,  p.  150-151. 


193.  Williamson,  George  C.  George  J. 
Pinwell  and  his  works.  London,  1900. 

Page  55:  The  Dovecote,  drawing  for  “English 
rustic  pictures,”  1865,  “from  the  original  woodcut.” 
Engraved  by  Dalziel. 

194.  Works  of  Shakespeare.  Edited  by 
Howard  Staunton.  The  illustrations  by 
John  Gilbert,  engraved  by  the  brothers 
Dalziel.  London,  1866.  3 v. 

Vol.  1,  p.  Ixviii:  The  two  gentlemen  of  Verona. 
Title. 

Vol.  2,  p.  148 : As  you  like  it,  act  in,  sc.  2. 

Vol.  3,  p.371:  Hamlet,  act  Hi,  sc.  4. 

“Sir  John  Gilbert’s  edition  of  Shakespeare  pub- 
lished by  Routledge  in  three  volumes,  1858  to  1860.  . . 
has  yet,  as  a whole,  to  be  surpassed.”  — Pennell, 
p.  89. 

195.  Jerrold,  Douglas.  Mrs.  Caudle’s  cur- 
tain lectures.  Illustrated  by  Charles 
Keene.  London,  1866. 

Page  41:  Ninth  lecture. 

“Too  much  cannot  now  be  said  about  Keene... 
as  some  slight  amends  for  the  general  indifference 
which  was  his  portion  during  life...  Keene,  the 
most  accomplished  draughtsman  in  England...  in 
some  ways  is  a far  greater  artist  than  Vierge... 
but  his  illustration.  . .could  not  be  perfectly  repro- 
duced to  print  with  type.  He  set  an  impossible  task 
to  the  engraver.  The  artist  who  wishes  a perfect 
reproduction  of  his  design  must  attend  to  the  tech- 
nical requirements  and  limitations  inevitably  imposed 
upon  him.  How  different  would  have  been  the 
results  had  he  worked  like  Vierge  for  the  photo- 
engraver... When  the  beauty  of  Keene’s  drawings 
in  Punch  is  extolled  it  must  be  remembered  that 
it  is  really  only  the  engravers’  translation  that  ap- 
pears on  the  printed  page.  Too  often  the  engravings 
look  nothing  like  the  drawings.  In  Keene’s  work 
there  is  a wonderful  feeling  for  character,  a sense 
of  movement  and  proportion,  and  a suggestion  of 
living  things  in  living  nature.  It  is  in  the  power  of 
making  things  live  that  Charles  Keene  has  excelled, 
that  he  is  the  equal  of  any  of  the  world’s  master 
draughtsmen.”  — Joseph  Pennell,  The  work  of 
Charles  Keene,  1897. 

196.  Carroll,  Lewis.  Alice’s  adventures  in 
Wonderland.  With  forty-two  illustrations 
by  John  Tenniel.  London,  1868. 

Frontispiece,  engraved  by  Dalziel. 

“ ‘Some  people,’  he  once  said  to  Spielmann,  ‘believe 
that  I am  no  humorist...  Now  I believe  that  I 
have  a very  keen  sense  of  humor,  and  that  my 
drawings  are  sometimes  really  funny’...  Who  can 
fail  to  see  the  twinkling  eye  behind  the  scenes  he 
drew  for  Alice  in  Wonderland ? He  has  fixed  for 
us,  with  hearty  sympathy,  types  of  the  hatter,  the 
mad  hare,  the  carpenter,  the  loquacious  walrus,  and 
the  rest  of  the  company.”  — Scribner’s  magazine, 
June,  1914. 

197.  Thornbury,  George  Walter.  Histori- 
cal and  legendary  ballads  and  songs.  Il- 
lustrated by  J.  Whistler,  F.  Walker,  John 
Tenniel,  J.  D.  Watson,  W.  Small,  F. 
Sandys,  G.  J.  Pinwell,  T.  Morten,  M.  J. 
Lawless,  and  many  others.  London,  1877. 

Page  157 : Dewfall,  by  Whistler. 

197a. Boston,  1876. 

Page  173:  Seaside  hexameters,  by  Pinwell,  en- 
graved by  Swain. 

Most  of  the  preface  of  the  book  is  devoted  to 
comment  on  the  illustrations. 


ILLUSTRATED  BOOKS  OF  THE  PAST  FOUR  CENTURIES 


29 


English,  19th  Century:  Wood  Engr’s,  cont’d. 

198.  Whymper,  Edward.  Scrambles 
amongst  the  Alps...  Second  edition. 
London,  1871. 

Plate  opposite  p.  120.  Whymper  sc. 

“A  book  greatly  prized  by  collectors,  with  draw- 
ings by  Whymper  and  James  Mahoney.”  — Gleeson 
White,  English  illustration,  p.  141. 


‘‘Of  the  various  styles  of  drawing  on  wood  in  the 
sixties,  there  are  three  broad  divisions.  The  virile 


line,  eliminating  all  local  colour,  of  which  the  chief 
exponent  was  Sandys.  The  free  and  realistic  line 
which  endeavours  to  suggest  local  tone  and  colour 
as  well  as  light  and  shade,  of  which  John  Gilbert, 
Millais,  and  especially  Fred  Walker,  in  its  later  de- 
velopments were  the  chief  leading  stylists.  The  wash- 
drawing with  a partial  absence  of  line,  leaving  the 
interpretation  into  line  to  the  wood  engraver.  Of 
this  third  style  William  Small  was  the  first  exponent. 
In  modern  wood  engraving  this  has  been  developed 
both  in  the  American  and  English  schools  to  such 
a degree  that  wood  engraving  in  its  latter  days  and 
wood  engraving  in  the  days  of  Holbein  and  the  old 
wood-cutters  are  governed  by  entirely  different 
theories.”  — Hayden,  p.  106. 


United  States,  19th  Century:  Wood  Engravings 


199.  Anderson,  Alexander.  A general 
history  of  quadrupeds.  Embellished  with 
three  hundred  and  forty-four  engravings, 
chiefly  copied  from  the  original  of  T. 
Bewick  by  A.  Anderson.  Second  Ameri- 
can, from  the  eighth  London,  edition. 
New  York,  1834. 

Page  113:  The  wild  boar . 

“In  1802,  for  David  Longworth,  he  undertook 
the  reproduction  of  Bewick’s  Quadrupeds,  three 
hundred  cuts.  . . They  are  all  directly  copied  from 
Bewick.  . .reversed.  Considering  the  little  practice 
on  wood  which  Anderson  had  then  had,  they  are 
wonderfully  close  copies.  .. tamer  than  the  originals, 
yet  showing  a real  artistic  conception  of  their  best 
qualities.”  — W.  J.  Linton,  History  of  wood-engrav- 
ing in  America,  1882,  p.  6. 

The  “Brief  catalogue”  of  Anderson’s  work  (1885) 
lists  a 2d  edition,  New  York,  1848. 

200.  [Returning  from  the  boar  hunt.) 

After  Ridinger. 

“No  more  vigorous  piece  of  pure  white  line  work 
has  been  done  outside  of  the  Bewick  circle.”  — Lin- 
ton, p.  6. 

201.  The  Illuminated  Bible...  Embel- 
lished with  sixteen  hundred  historical  en- 
gravings by  J.  A.  Adams,  more  than  four- 
teen hundred  of  which  are  from  original 
designs  by  J.  G.  Chapman.  New  York, 
1846. 

Engraved  title:  The  Holy  Bible,  and  frontispiece : 
Meeting  of  Jacob  and  Joseph. 

The  “Family  Bible,”  first  projected  in  1837,  was 
brought  out  by  the  Harpers  in  1846.  The  cuts  not 
after  Chapman  were  transfers  of  English  ones. 
“There  was  no  use  of  the  white  line;  it  was  all 
straight  facsimile  work,  faithful  rendering  of  Chap- 
man’s lines,  which  latter  were  executed  with  a 
fineness  and  formal  precision  and  crosshatching  quite 
evidently  intentionally  reminiscent  of  copper  plate 
work.”  — Weitenkampf  Graphic,  p.  145. 

202.  Chapman,  John  Gadsby.  The  last 
arrow.  Drawn  and  engraved  for  the  N.  Y. 
Mirror.  Wood  engraving  by  J.  A.  Adams 
after  Chapman. 

Impression  with  a tint,  printed  from  a block 
with  the  high  lights  cut  out. 

203.  Simms,  William  Gilmore.  The  scout 
. . . With  frontispiece  by  F.  O.  C.  Darley. 
New  edition.  New  York,  1854. 

Frontispiece,  engraved  by  Whitney,  Jocelyn,  and 
Annin;  and  title,  engraved  by  Richardson  & Cox. 

203a.  Original  sketch  for  title  of  pre- 

ceding. 


203b.  Pencil  sketch  by  Darley:  two 

men  in  18th  century  costume. 

This  and  the  preceding  are  preliminary  sketches. 
The  final  design  was  drawn  on  wood  for  the  engraver. 

“One  who  still  stands  on  our  records  as  perhaps 
the  most  noteworthy  example,  everything  considered, 
of  an  ‘all  around’  illustrator  that  we  have  had,  — 
Felix  O.  C.  Darley.  Darley’s  industry  was  as  great 
as  his  facility  and  versatility.  The  swing  of  his  style, 
his  big  grasp  of  both  individual  action  and  the  move- 
ment of  groups  of  bodies,  give  his  work  a distinc- 
tion even  to-day.  His  illustrations,  even  if  we 
pick  faults  in  details  of  drawing,  are  really  illustra- 
tions and  not  simply  painfully  exact  drawings  without 
any  appreciable  reference  to  the  text.”  — Weiten- 
kampf Graphic,  p.  210. 

204.  Irving,  Washington.  A history  of 
New-York,  from  the  beginning  of  the 
world  to  the  end  of  the  Dutch  dynasty... 
By  Diedrich  Knickerbocker.  With  illus- 
trations by  F.  O.  C.  Darley,  engraved  by 
eminent  artists.  New  York,  1850. 

Opposite  p.  141:  W outer  van  Twiller.  Engraved 
by  Frank  Leslie. 

Engravings  by  Childs,  Herrick,  Bobbett  & Ed- 
monds, etc. 

“I’utnam  deserves  mention.  Irving’s  Sketch  Book, 
produced  by  him  in  1852,  was  the  most  beautifully 
got  up  book  that  had  then  appeared:  paper,  print- 
ing, and  margin,  of  the  handsomest.”  — W.  J.  Lin- 
ton, History  of  wood-engraving  in  America,  Boston, 
1882,  p.  25-26. 

205.  Picturesque  America...  With  illus- 
trations on  steel  and  wood  by  eminent 
American  artists.  Edited  by  William  Cul- 
len Bryant.  New  York:  Appleton  & Co. 
[1872.,  2 v. 

Vol.  2,  p.  428,  illustrations  by  Harry  Fenn. 

The  illustrators  included  Harry  Fenn,  R.  Swain 
Gifford,  Granville  Perkins,  Alfred  R.  Waud,  J.  D. 
Woodward,  W.  L.  Sheppard,  James  D.  Smillie,  W. 
H.  Gibson,  and  Thomas  Moran. 

Bryant  says  in  the  Preface:  “We  have  some  of 
the  most  beautiful  scenery  in  the  world...  Here 
is  a field  for  the  artist  almost  without  limits.  It 
is  no  wonder  that  the  landscape-painter  should  flour- 
ish in  our  country...  The  illustrations  were  made 
in  almost  every  instance  by  artists  sent  by  the 
publishers  for  the  purpose.  Photographs  lack  the 
spirit  and  personal  quality  which  the  accomplished 
painter  or  draughtsman  infuses  into  his  work.” 

In  “Picturesque  America”  the  landscape  artists 
had  their  opportunity,  particularly  Thomas  Moran, 
Harry  Fenn,  and  J.  D.  Woodward.  Fenn  was  the 
suggester  and  principal  illustrator  of  the  publication. 
The  cuts  form  a remarkably  interesting  collection  of 
well-engraved  landscape.  S.  R.  Koehler  called  the 
book  an  epoch-making  work.  It  gave  a stimulus  to 
good  engraving.  In  those  two  profusely  illustrated 
volumes,  opportunity  came  to  engravers  such  as 


30 


THE  NEW  YORK  PUBLIC  LIBRARY 


U.  S.,  19  th  Century:  Wood  Engr’s,  cont'd. 

John  Tinkey,  Morse,  Harley,  Filmer,  Halliwell,  J.  A. 
Bogert,  Langridge,  Karst,  N.  Orr,  J.  H.  Richardson, 
Anthony,  Annin  (whose  Walls  of  the  Grand  Canon, 
after  Thomas  Moran,  is  a particularly  careful  and 
fine  example),  F.  O.  Quartley,  Slader,  Henry  Linton, 
Measom,  Cranston,  Robert  Hoskin,  Palmer,  Alfred 
Harral,  and  W.  J.  Linton. 

206.  Faber,  Frederick  William.  Pilgrims 
of  the  night.  New  York,  1884. 

“Illustrations  by  Edmund  H.  Garrett.  Drawn 
and  engraved  under  the  supervision  of  George  T. 
Andrew.” 

Verse:  "Onward  we  go." 

207.  Gibson,  William  Hamilton.  Pastoral 
days;  or,  Memories  of  a New  England 
year.  New  York,  1886. 

Page  62:  Engraving  by  Hoskin. 

In  the  list  of  illustrations  appear  the  names  of 
F.  S.  King,  Filmer,  Wolf,  Smithwick  & French,  R. 
Hoskin,  and  other  engravers. 

Gibson ...  used  pen  and  pencil  in  a number  of 
volumes  (“Sharp  eyes,”  “Happy  hunting  grounds,” 
“Pastoral  days”)  to  familiarize  a larger  public  in 
a charming  and  graceful  manner  with  characteristic 
features  of  animal  and  plant  life  and  with  “the 
idyllic  qualities  of  nature,”  as  Horace  E.  Scudder 
put  it. 

208.  Tennyson,  Alfred.  Enoch  Arden. 
Boston:  Ticknor  & Fields,  1866. 

The  illustrations,  by  John  La  Farge,  Elihu  Vedder, 
W.  J.  Hennessy,  and  F.  O.  C.  Darley,  number  four- 
teen, of  which  nine  are  by  La  Farge. 

Page  38:  Enoch  alone,  engraved  by  Anthony  & 
Davis;  and  p.  51 : The  seal  of  silence,  engraved  by 
Henry  Marsh,  both  drawn  by  La  Farge. 

“Enoch's  supplication  and  The  Seal  of  silence 
show  a noteworthy  intensity  of  feeling,  possibly  a 
little  beyond  the  limits  of  the  medium,  or  of  the 
artist’s  command  of  the  same,  yet  stirring,  and  in 
the  case  of  the  second  drawing  named,  quite  com- 
pelling. . . Such  works  recall  Miss  E.  L.  Cary’s 
sentence:  ‘In  the  early  illustrations,  with  all  their 
disabilities,  we  see... the  power  to  throw  open  to 
the  mind  the  region  of  mystery.’  ” — Print-collec- 
tor’s quarterly,  v.  5,  1915,  p.  476. 

208a.  La  Farge,  John.  “The  fisherman  and 
the  genie”  and  “The  giant  and  the  trav- 
elers.” Engraved  on  wood  by  Henry 
Marsh. 

"For  the  ‘Riverside  Magazine,’  La  Farge  and 
I Horace]  Scudder  projected  a series  of  drawings 
developing  ‘representations.  . .of  incidents  which  were 
doubtful  or  of  such  a poetic  nature  as  to  pass  easily 
into  fairyland.’  In  addition  to  the  Pied  piper  there 
were  The  wolf -charmer , Bishop  Hatto,  The  fisher- 
man and  the  genie,  and  The  giant  and  the  travelers, 
all  four  engraved  by  Henry  Marsh.  The  difference 
in  execution  is  remarkable:  the  first  two  done  in 
a ropy  line,  with  something  of  the  manner  of  Brit- 
ish illustration,  the  last  two  showing  a certain 
Japanese  influence  in  treatment.  This  Japanese  in- 
fluence, like  all  others  that  he  underwent  — mediae- 
val, modern  French,  and  the  Blake  influence  which 
Miss  Cary  has  traced  ‘in  the  little  group  to  which 
William  James  and  La  Farge  belonged’  — became 
assimilated  in  the  expression  of  an  artistic  individu- 
ality that  ever  remained  true  to  itself.”  — Print- 
collector’s  quarterly,  v.  5,  1915,  p.  478,  482. 

209.  The  spirit  of  the  water-lily,  en- 

graved by  Henry  Marsh.  From  Mrs.  Abby 
Sage  Richardson’s  “Songs  from  the  old 
dramatists,”  1873. 

This  book  lias  four  drawings  by  La  Farge  and 
“ornamental  designs  and  vignettes”  by  Sidney  L. 


Smith.  “The  drawings,  pictorial  introductions  to 
four  of  the  seven  sections  of  the  book... are  in- 
definite, not  related  to  individual  instances.  Each 
accompanies  its  group  of  poems  like  an  expression 
of  mood,  an  undercurrent  of  thought  and  feeling 
promoted  by,  and  going  out  to  meet,  the  general 

strain  of  sentiment  in  these  songs...  It  is the 

general  attitude  of  an  artist  who  ‘practiced  the  deli- 
cate art  of  thinking  as  constantly  and  as  naturally 
as  he  breathed’...  He  brings  to  mind  Anatole 
France’s  saying  regarding  one  so  different  — Ga- 
varni:  ‘He  thinks,  and  that  is  a cause  of  wonder  in 
the  midst  of  all  this  world  of  artists  who  are  con- 
tent with  seeing  and  feeling’...  The  wolf  charmer 
and  the  Spirit  of  the  water-lily  were  engraved  by 
Henry  Marsh,  who  showed  faithful  and  discriminat- 
ing adherence  to  La  Farge’s  noteworthy  variation 
of  treatment... 

“Decorative  feeling  is  strong  in  much  of  his  book 
illustration.  But  the  question  of  book  decoration 
per  se  does  not  appear  to  have  come  saliently  into 
our  artist’s  scope.  He  did  not  deal  with  illustration 
as  an  integral  part  of  the  make-up  of  a book.  He 
did  not  evince  appreciation  of  the  line  as  an  ele- 
ment of  harmony  with  the  lines  of  printing  type. 
Even  when  he  uses  the  line  it  is  not  a dominant 
force  but  an  incidental  effect...  His  illustrations 
take  full  rank  in  importance  with  his  other  works,  be- 
cause they  bear  equally  the  impress  of  his  individu- 
ality.”— Print-collector’s  quarterly,  v.  5,  1915,  p. 

482,  484,  486,  490,  494. 

210.  Kelly,  James  E.  Engineer  crossing 
the  chasm  over  the  Rimac,  drawn  by  James 
E.  Kelly,  engraved  by  Frederick  Juengling. 
From  Scribner’s,  August,  1877,  p.  449. 

Late  in  the  seventies  came  that  new  movement  in 
wood-engraving,  emphasized  with  especial  eclat  in 
Juengling’s  cuts  after  James  E.  Kelly’s  remarkably 
free  drawings  for  ‘‘Scribner’s.”  In  these  Kelly  de- 
signs, the  line  was  absent;  it  was  painted  illustra- 
tion, which  we  see  in  preponderance  to-day,  and  it 
set  problems  for  the  engravers  which  were  quite  in 
line  with  the  tendency  to  insist  on  tones  and  masses. 
These  drawings  were  slapped  down  in  broad,  sweep- 
ing brush-marks,  blocked  in  with  disdain  of  finish. 
Thus  was  furthered  the  wood-engravers’  spirit  of 
experiment  in  rendering  the  original  to  the  very 
marks  of  the  brush,  the  streaks  of  paint. 

211.  The  Burning  of  Jamestown. 

Original  wash-drawing  by  James  E.  Kelly, 
showing  his  method  of  working.  Marked 
for  the  engraver:  “Reduce  to  4J4  wide.” 

With  the  introduction  of  photography,  there  came 
a change.  The  moment  the  design  needed  no  longer 
to  be  drawn  on  the  wood,  but  could  be  drawn  sepa- 
rately and  photographed  on  the  block,  the  artist  was 
given  a much  greater  freedom.  He  could  now  work 
on  any  scale,  on  any  material,  and  with  any  medium. 
That  ultimately  led  to  painted  illustrations,  and  in 
the  hands  of  less  able  or  less  conscientious  men,  in 
these  days  of  facile  reproduction  by  the  half-tone 
process,  to  what  has  been  called  the  ‘‘half-realized 
daub.” 

To  the  wood-engravers  this  change  brought  a power 
which  was  exploited  and  developed  especially  in  the 
United  States  with  a virtuosity  that  at  first  over- 
shot its  mark  by  imitating  externals  (brush-marks 
and  the  like)  with  meticulous  faithfulness.  It  de- 
veloped into  the  remarkable  interpretative  art  of 
men  such  as  Cole  and  Wolf,  whose  engravings  after 
famous  paintings  are,  of  course,  not  so  much  illustra- 
tions as  prints,  fit  for  portfolio  and  wall. 

For  that  reason,  work  such  as  that  is  not  included 
in  this  exhibition,  since  that  is  limited  to  the  con- 
sideration of  media  in  their  relation  to  illustration. 

‘‘At  last  it  became  apparent  that  the  old  conven- 
tions were  inadequate  and  that  they  had  to  go  by 
the  board.  The  line  had  to  be  tampered  with  in  order 
faithfully  to  render  the  qualities  characteristic  of  the 
artist’s  painting.  In  other  words,  the  painting  came 
to  be  deemed  more  important  than  the  exploitation 
of  the  engraver’s  skill  in  the  production  of  lines. 


ILLUSTRATED  BOOKS  OF  THE  PAST  FOUR  CENTURIES 


31 


U.  S.,  19th  Century:  Wood  Engr’s,  cont’d. 

All  the  old  conceptions  of  reproducing  textures  — a 
certain  sort  of  line  for  this  and  another  sort  of  line 
for  that  — had  to  go 

“In  a word,  engraving  became  no  longer  engrav- 
ing per  se  but  painting,  and  because  of  the  need  of 
interpreting  this  deeper  artistic  feeling  the  technical 
difficulties  of  the  engraver  were  increased  a hundred- 
fold.” — E.  L.  Cary,  Print-collector’s  quarterly,  v.  5, 
1915,  p.  339. 

212.  Goldsmith,  Oliver.  The  hermit,  a 
ballad.  Illustrated  by  W.  Shirlaw,  en- 
graved by  F.  Juengling.  Philadelphia,  1886. 

Page  22:  Full-page  illustration  with  border;  tail- 
piece on  opposite  page. 

213.  Pyle,  Howard.  Death  of  Braddock, 
by  Howard  Pyle.  Engraved  by  C.  W. 
Chadwick.  Proof. 

Appeared  in  Scribner’s  magazine,  v.  13,  p.  533. 

“A  particularly  noteworthy  connecting  link  be- 
tween the  last  generation  and  the  present  was  Howard 


Pyle.  ‘Versatile,’  one  would  say,  were  there  not 
the  fear  of  a by-taste,  in  that  term,  of  glib  facility  — 
particularly  foreign  to  him.  The  periods  and  sub- 
jects which  he  covered  were  varied  indeed:  seven- 
teenth century  England  and  France,  the  American 
Revolution  and  our  Civil  War,  buccaneers,  Robin 
Hood,  the  divers  and  fishermen  of  our  coasts  and 
Holmes’  ‘One  hoss  shay’  and  ‘Autocrat  of  the  break- 
fast table.’  His  careful  historical  correctness  was 
free  from  possible  pedantry  through  the  success  with 
which  he  projected  himself  into  time,  place  and 
spirit  of  each  scene  that  he  portrayed.  His  use  of 
the  pen,  with  an  archaic  flavor  that  caused  Pennell 
to  characterize  him  as  ‘a  careful  student  of  Duerer,’ 
was  pretty  well  abandoned,  later  on,  for  that  of  the 
brush.  He  painted  his  illustrations;  that  fact,  in 
itself,  brings  him  in  touch  with  the  younger  men 
of  this  day,  who  are  to  a great  extent  availing  them- 
selves of  this  method  of  working  for  reproduction.”  — 
Weitenkampf  Graphic,  p.  231-232. 

A history  of  wood  engraving  is  practically  a his- 
tory of  book-illustration.  Its  development  eventu- 
ally led  to  a craftsmanship  so  remarkable  as  to  give 
rise  to  the  objection  that  the  art  had  been  forced 
beyond  its  province.  After  that,  it  was  almost  entire- 
ly supplanted  by  the  processes  of  the  camera. 


Process  Work:  Painted  Illustration 

With  the  coming  of  the  photomechanical  processes,  the  engrave/  began  to  go.  The  illustrator  con- 
tinued to  paint  illustrations  increasingly.  Howard  Pyle,  who  had  begun  as  a line-draughtsman  of  an 
archaizing  tendency,  working  with  an  evident  feeling  for  that  harmony  between  drawing  and  types  repeatedly 
referred  to  here,  finally  painted  his  illustrations,  which,  full  page  plates,  were  printed  like  all  other  such 
work  on  a coated  paper  which  had  to  be  tipped  in  between  the  printed  pages.  We  all  know  how  easily  and 
how  soon  such  “inserts”  start  away  from  their  moorings,  as  though  following  a tendency  to  leave  a place 
where  they  do  not  necessarily  belong. 

Obviously,  in  such  half-tdne  reproduction  of  brushed  drawings  there  could  not  be  that  relation  to 
the  type,  that  intimate  connection  with  the  printed  page  which  line  drawings  could  offer.  But  it  must 
not  be  forgotten  that  process-work  is  and  can  be  also  applied  to  line  drawing. 

The  easy  reproduction  of  drawings,  good  or  bad,  by  the  aid  of  the  camera  and  the  half-tone  process, 


is  referred  to  in  the  first  note  to  no.  211  in  this  list. 

214.  Hitchcock,  Lucius  Wolcott.  “Dazed, 
she  rose  to  her  sandalled  feet.”  Half-tone. 

215.  Clark,  Walter  Appleton.  [Jacques 
and  his  fiddle.)  “. . .Eef  yo’  lak’  dat  feedle 
so  moch,  hein?”  Illustration  for  Henry 
Van  Dyke’s  “A  lover  of  music,”  in  Scrib- 
ner’s Magazine,  April,  1899.  Proof.  Half- 
tone. 

“Clark  developed  a broader,  bolder  style,  as  ex- 
emplified by  his  sympathetic  interpretation  of  the 
Canadian  tales  by  Dr.  Henry  Van  Dyke.  To  create 
...the  frail  and  whimsical  fiddler,  Jacques,  as  op- 
posed to  the  stalwart  Raoul. . .shows  striking  powers 
of  imagination.  . . ‘The  awakening  of  Helena  Ritchie’ 
and  ‘Legends  of  the  city  of  Mexico*  have  afforded 
him  opportunities  for  self-expression...  As  Robert 
Bridges  put  it,  ‘The  critics  have  found  in  his  work 
...power  to  draw,  insight  in  composition,  and  deli- 
cacy of  imagination  combined  with  strength.***  — 
International  studio,  April,  1907,  p.  xxxiii-xli. 

216.  Smedley,  W.  T.  [A  New  York  street 
scene.  A man  interviewing  three  others. 
In  background,  site  of  Flatiron  Building, 
before  the  erection  of  that  structure.)  Half- 
tone. 

“The... suave  method  of  W.  T.  Smedley,  a meth- 
od in  harmony  with  the  manners  of  the  well-bred, 
comfortable  middle  class  which  he  has  depicted 
with  particularly  happy  seizure  of  essential  nature. 
He  has  had  a keen  eye  for  the  individualities  which 


the  monotonous  sameness  of  fashionable  attire  often 
veils,  as  well  as  for  the  character  that  the  very  fit 
of  the  clothes  themselves*  discloses  to  the  observant 
eye.*’  — Weitenkampf  Graphic,  p.  223-224. 

217.  Mowbray,  H.  Siddons.  The  wedding 
gown.  A page  of  lettered  text,  with  design 
above  and  below.  The  whole  reproduced 
in  half-tone. 

218.  Keller,  Arthur  I.  From  the  holiday 
edition  of  Lowell’s  “The  courtin’,”  illus- 
trated in  color  by  A.  I.  Keller.  “He  stood 
a spell  on  one  foot  fust...”  Black-and- 
white  half-tone. 

219.  “To  the  book,”  she  said.  Drawn 

by  Arthur  I.  Keller,  half-tone  plate  en- 
graved by  R.  Varley. 

“Arthur  I.  Keller,  identified  with  de  luxe  editions 
of  American  classics  (Longfellow’s  ‘Hanging  of 
the  crane?’  etc.) . . . His  conscientious  study  of  the 
authors’  intentions  and  characters  is  embodied  in 
a style  that  is  free  and  spontaneous.  You  feel  that 
his  illustrations  are  adequately  in  harmony  with  the 
written  word,  yet  the  artist  is  not  merely  a reflection 
of  the  author.  The  latter,  as  it  were,  speaks  to  us  in 
the  pictures  through  a discriminating  personality 
that  has  added  life  to  the  characters  visualized  for 
us.  He  seems  particularly  happy  in  the  representa- 
tion of  groups  of  people  in  their  temporary  mental 
and  physical  relations.”  — Weitenkampf  Graphic,  p. 


32 


THE  NEW  YORK  PUBLIC  LIBRARY 


Pen-and-Ink 

Joseph  Pennell,  in  his  “Pen  drawing  and  pen  draughtsmen”  (London  and  New  York,  1889),  analyses 
ihe  work  of  the  masters  of  the  pen  in  a most  illuminating  manner. 

“Any  real  and  true  improvement. . .we  are  blind  and  fools  not  to  adopt...  It  is  not  its  cheapness 
which  gives  value  to  process;  neither  is  it  the  inability  of  woodcutting  to  obtain  the  same  results  — a great 
engraver  almost  can;  but  it  is  the  fact  that  unless  this  great  artist  wishes  to  display  his  power,  it  is  useless 
to  compel  a wood-engraver.  . .to  toil  and  slave  for  a result  in  which  a machine  so  often  surpasses  him.”  — 
Pennell  Pen,  p.  296-297. 


220.  Pyle,  Howard.  The  merry  adven- 
tures of  Robin  Hood...  Written  and  il- 
lustrated by  Howard  Pyle.  New  York, 
1883. 

Opposite  p.  79:  The  stout  bout  between  Little 
John  and  Arthur  a Bland. 

The  plates,  with  lettering  and  border,  as  well  as 
some  head-  and  tail-pieces,  are  by  Pyle. 

“Howard  Pyle  has  given  in  his  pen  drawings  the 
quaintness  of  American  life  in  the  colonial  period, 
and,  in  Robin  Hood,  some  beautiful  ideas  of  a coun- 
try he  does  not  know.  His  Pepper  and  salt  and  other 
children’s  books  are  as  beautiful  in  their  old  and 
quaint  simplicity...  When  I can  print  along  with 
text  a drawing  by  Pyle,  which  contains  many  quali- 
ties Diirer  could  not  have  obtained  save  in  an  etch- 
ing, and  then  never  could  have  printed  with  type, 
it  shows  progress.  . .in  autographic  reproduction  of 
a pen  drawing  with  type ...”  — Pennell  Pen,  p. 
198-199,  208-209. 

221.  Abbey,  Edwin  Austin,  compiler  and 
illustrator.  Old  songs,  with  drawings  by 
Edwin  A.  Abbey  & Alfred  Parsons.  New 
York,  1889. 

Page  116:  Drawing  by  Abbey:  Phillada. 

Edwin  A.  Abbey,  “endowed,”  as  Miss  E.  L.  Cary 
says,  “with  the  instinct  for  the  exquisite  and  the 
old,”  reconstructed  the  seventeenth  and  eighteenth 
centuries  for  us  in  his  drawings  for  “Old  songs” 
and  Goldsmith’s  “She  stoops  to  conquer,”  with  a 
vividness  and  grace  that  quite  obliterate  the  pre- 
paratory labor  of  historical  studies.  The  light,  ca- 
ressing strokes  of  his  pen  graphically  illustrated 
the  easy  craftsmanship,  the  finest  technique  which 
attains  its  result  with  no  trace  of  effort.  “For  grace 
and  refinement,”  wrote  Pennell,  “he  ranks  second 
to  none”;  those  were  indeed  the  salient  characteristics 
of  his  drawings.  In  his  famous  Shakespeare  illustra- 
tions, W.  H.  Downes  found  refinement,  tenderness, 
grace,  rather  than  dramatic  force  or  grandeur.  Hu- 
man character  eluded  him  in  a measure.  “The  char- 
acters of  Shakespeare,”  writes  Samuel  Isham,  “have 
become  intimate  personal  friends;  we  are  not  to  be 
put  off  with  a jeweled  stomacher,  or  an  Italian 
terrace.  Abbey  did  as  well  as  any  one  has  ever  done, 
and  gave  us  a series  of  graceful  figures.”  Yet 
there  is  a charm,  an  atmosphere  in  all  his  work  that 
saves  it  from  being  a cold  record  of  antiquarian 
facts,  and  to  the  artist  it  is  a delight  in  its  com- 
mand of  the  medium. 

222.  Arnold,  Sir  Edwin.  Japonic#..  With 
illustrations  by  Robert  Blum.  New  York, 
1891. 

Page  64. 

Also,  separate  proof  of  another  Japanese  subject. 

“Fortuny  lived  a little  too  soon  for  the  process 
work  by  which  many  of  his  followers  have  profited. 
Among  them  all,  there  has  been  no  more  careful 
and  at  the  same  time  more  brilliant  student  of  his 
work  than  Blum.”  — Pennell  Pen,  p.  218. 

223.  Curtis,  George  William.  Prue  and 
I Illustrated  from  drawings  by  Albert 
Edward  Sterner.  New  York,  1893. 

Page  173. 

These  drawings,  said  Hopkinson  Smith,  “pre- 
served the  very  essence  and  sweetness  of  the  aroma 
of  [this]  charming  story.” 


224.  Warner,  Charles  Dudley.  Their  pil- 
grimage. Illustrated  by  C.  S.  Reinhart. 
New  York,  1895. 

Page  38:  Uncle  Ned  adjusting  the  telescope. 

In  the  work  of  Charles  Stanley  Reinhart  a force- 
ful directness  was  joined  to  • what  some  one  has 
described  as  a “quick  grasp  and  holding  of  charac- 
teristics of  various  national  and  social  types.”  This 
last  point  is  emphasized  in  the  article  on  Reinhart 
by  Henry  James  (“Harper’s  weekly,”  June  14,  1890): 
“He  likes  to  represent  characteristics,  — he  rejoices 
in  the  specifying  touch.” 

225.  Van  Rensselaer,  Mrs.  Schuyler.  Eng- 
lish cathedrals.  Illustrated  with  one  hun- 
dred and  fifty-four  drawings  by  Joseph 
Pennell.  London,  1893. 

Page  159. 

“His  draftsmanship.  . .his  power  of  eliminating 
non-essentials,  and  capacity  for  work.  ‘Years  of  ex- 
perience have  told  Mr.  Pennell  what  is  possible  to  the 
block-maker,’  said  a student  of  his  work.  ‘On  this 
basis  he  has  built  up  an  art  that  is  entirely  his  own.  . . 
Mr.  Pennell  attaches  great  importance  to  the  making 
of  a decorative  bookspage;  the  artist’s  illustrations 
always  seem  to  be  of  a weight  sympathetic  to  the 
type  near  which  they  are  set.’  ” — Brush  and  pencil. 
May,  1903. 

“The  forcible  fashion  of  his  work,  and  all  that 
he  represents,  have  influenced  black-and-white  artists 
in  this  country,  as  his  master  Rico  influenced  him. . . 
He  can  apply  this  power  to  the  realization  of  an 
architectural  detail,  or  of  a cathedral,  of  miles  of 
epuntry  with  river  curves  and  castles,  trees,  and 
hills  and  fields,  and  a stretch  of  sky  over  all;  or 
of  a great  city-street  crowded  with  traffic,  of  new 
or  old  buildings.”  — R.  E.  D.  Sketchley,  English 
book-illustration  of  to-day,  1903,  p.  41-43. 

226.  Frost,  Arthur  B.  Brother  Rabbit 
and  Brother  Bullfrog.  “He  shuck  his  um- 
brell’  like  mad.”  Original  pen-and-ink 
drawing  by  Arthur  B.  Frost,  and  reproduc- 
tion of  the  same,  much  reduced  in  size. 

“Frost  has,  as  H.  C.  Bunner  puts  it,  ‘the  charm 
of  a convincing  naturalness’  (‘Harper’s  magazine,’ 
Oct.,  1892).  In  his  collection  of  drawings  ‘Sports 
and  games  in  the  open’  (1899),  with  their  joy  in  out- 
door life,  we  feel  this  same  whole-souled,  kindly 
absorption  in  the  point-of-view  of  the  characters 
whom  he  depicts.  Robert  Bridges,  writing  of  Frost 
in  the  ‘Book-buyer,’  March,  1894,  quotes  F.  Hopkin- 
son  Smith  as  saying  that  ‘no  man  laughs  effectively 
with  pen  or  brush  who  does  not  laugh  with  his  own 
soul  first.’  He  illustrated,  with  much  finish,  A.  W. 
Tourgee’s  ‘Hot  plowshares’  (1883),  but  better  known, 
more  spontaneous,  more  the  outcome  of  his  nature, 
are  his.  little  drawings  for  F.  R.  Stockton’s  ‘Rudder 
Grange.’  His  delightful  treatment  of  two  such  dif- 
ferent books  as  H.  C.  Bunner’s  ‘Story  of  a New 
York  house’  and  ‘Uncle  Remus’  is  to  be  noted.”  — 
Weitenkampf  Graphic,  p.  224—225. 

227.  Wood,  Charles  Erskine  Scott.  Maia. 
A sonnet  sequence,  by  Charles  Erskine 
Scott  Wood...  Portland,  1918. 

“Decorations  and  types  by  A.L.B.  for  his 
most  constant  friend  the  author.”  A.L.B. 
is  Alfred  L.  Brennan. 

Page  xx. 

One  could  not  find  a much  greater  contrast  to 


ILLUSTRATED  BOOKS  OF  THE  PAST  FOUR  CENTURIES 


33 


Pen-and-ink , continued. 

Remington’s  rough-and-ready  use  of  pen-and-ink  than 
Alfred  Brennan’s  loving  and  insinuating  courtship 
of  the  same  medium.  . . Brennan,  who  was  described 
as... “an  assiduous  cultivator  of  whimsicality  as  a 
fine  art,’’  injected  a quite  personal  element  into 
whatever  he  did,  a peculiar  flavor  which  pervaded 
even  when  he  was  simply  re  drawing  a photograph.” 

“For  pure  cleverness  no  one  ever  surpassed  him.” 
— Pennell  Pen,  p.  222. 

228.  Dobson,  Austin.  The  ballad  of  Beau 
Brocade,  and  other  poems  of  the  xvmth 
century,  by  Austin  Dobson,  with  fifty  illus- 
trations by  Hugh  Thomson.  London,  1893. 

Page  14. 

“There  are  no  more  facile  and  prolific  illustrators,” 
says  Salaman,  in  Modern  illustrators,  “than  Mr. 
Hugh  Thomson  and  Messrs.  C.  E.  and  H.  M.  Brock, 
and  all  of  them  are  most  at  home  in  the  humours 
of  the  eighteenth  and  early  nineteenth  centuries.” 
Among  the  illustrations  which  he  reproduces  in  the 
book  are  specimens  of  H.  M.  Brock’s  work  for 
“Essays  of  Leigh  Hunt”  and  “Thackeray’s  Songs 
and  Ballads,”  and  C.  E.  Brock’s  for  “Essays  of  Elia.” 
Both  Hugh  Thomson  and  C.  E.  Brock  have  sympa- 
thetically illustrated  Jane  Austen’s  novels. 

229.  Beardsley,  Aubrey.  Title  of  Savoy, 
no.  2,  April,  1896. 

230.  — — Portrait  of  himself.  In  the  Yel- 
low Book,  Oct.,  1894. 

“It  is  in  The  Yellow  Book  that  Beardsley  first 
came  into  contact  — - one  had  almost  written  con- 
flict — with  the  public . . . The  method  adopted  by 
him  during  this  period  is  distinctive,  and  he  branched 
into  an  altogether  different  one  after  its  close.”  — 
H.  C.  Marillier,  Prefatory  note  in:  The  early  work 
of  Aubrey  Beardsley,  London,  1912. 

“No  artist  has  shown  greater  versatility...  The 
most  essential  thing  in  this  artist’s  work  is  the 
decorative  quality  in  it.  . . The  illustrations,  aptly 
called  by  the  artist  ‘embroideries,’  for  ‘The  rape  of 
the  lock,’  excessively  factitious  and  formal,  are  quite 
in  keeping  with  Pope’s.  .. buffoonery.”  — A.  E.  Gal- 
latin, Aubrey  Beardsley’s  drawings,  New  York,  1903. 

231.  Malory,  Sir  Thomas.  The  birth,  life, 
and  acts  of  King  Arthur,  of  his  noble 


knights  of  the  Round  Table...  Embel- 
lished with  many  original  designs  by 
Aubrey  Beardsley.  London,  1893-94.  2 v. 

Vol.  2,  opposite  p.  768:  How  a devil  in  woman’s 
likeness  would  have  tempted  Sir  Bors. 

“Making  all  allowances,  the  ‘Morte  d’Arthur’  il- 
lustrations are  a wonderful  accomplishment  for  a 
boy  of  twenty.  The  amount  of  invention  lavished 
upon  the  five  hundred  and  forty-eight  vignettes  and 
decorative  borders,  is  prodigious...  It  is  a pity 
that  the... scale  of  reduction  fails  to  do  justice  to 
the  fine  quality  of  his  drawing.”  — Marillier. 

232.  Cervantes  Saavedra,  Miguel  de.  The 
history  of  the  valorous  and  witty  knight- 
errant  Don  Quixote  of  the  Mancha. 
Translated  by  T.  Shelton.  The  illustra- 
tions by  D.  Vierge.  With  an  introduction 
by  R.  Cortissoz.  New  York,  1906.  4 v. 

Vol.  4,  opposite  p.  224. 

“The  greatest  illustrator  who  ever  lived...  The 
most  brilliantly  illustrated  work  ever  published... 
Pablo  de  Segovie....  Vierge’s  work  is  something 
vastly  more  than  clever...  Vierge  doubtless  owed 
much  to  Fortuny...  Like  Fortuny,  he  uses  the  pen 
to  fill  his  drawings  with  delicate  modeling,  but  he 
brought.  . .a  strength,  a delicacy,  and  a character  all 
his  own.  In  ...Pablo  de  Segovia  one  is  struck  with 
the  entirely  different  methods  used  in  the  many 
drawings.”  — Pennell  Pen,  p.  31,  40-41. 

“Line  with  Vierge  was  at  once  a means  of  dis- 
tinguished personal  expression  and  a medium  cul- 
tivated with  close  reference  to  modern  reproductive 
processes,  and  the  conditions  of  modern  book-making 
...  In  the  [‘Pablo  de  Segovie’]  the  drawings  are 
in  their  very  essence  illustrations,  with  everything 
in  them,  grouping,  scale,  distribution  of  light  and 
shade,  and  character  of  line,  calculated  to  fit  natur- 
ally into  the  framework  of  the  printed  page.  . . His 
pen  is  worthiest  of  Cervantes.”  — Royal  Cortissoz. 

“You  hear  some  young  lion  of  the  magazines 
making  light  of  the  black-and-whites  that  he  has 
recently  ‘knocked  off,’  and  talking  of  his  impatience 
to  ‘get  at  something  serious  in  color.’  Who  is  too 
great  an  artist  to  follow  in  the  footsteps  of  Menzel 
and  Vierge?. . . The  only  way  in  which  to  make  good 
illustrations  is  to  make  them  with  an  enthusiastic 
conviction  of  their  illimitable  possibilities.  . . Modern 
illustration  is  nothing  if  not  contemporaneous,  fed 
at  the  springs  of  daily  actuality.”  — Royal  Cortissoz, 
in  “Annual  of  the  Society  of  Illustrators,”  1911. 


Some  19th  Century  Efforts  in  the  United  States 
to  Produce  the  “Book  Beautiful” 


There  were  some  notable  efforts  in  this  country,  during  the  last  two  decades  of  the  last  century,  to 
produce  finely  illustrated  books.  For  example,  such  achievements  as  Kenyon  Cox’s  “Blessed  damozel,” 
and  Will  H.  Low’s  Keats  volumes,  the  latter  designed  by  the  artist  to  the  extent  of  illustrations,  decorative 
panels,  lining  papers  and  covers.  The  illustrations  in  these  books,  as  in  E.  H.  Garrett’s  “Elizabethan  songs” 
(Boston,  1891),  and  others,  were  drawn,  not  in  line  but  in  tones,  reproduced  by  photogravure  or  similar 
process.  But  the  essential  importance  of  the  line  was  never  quite  overlooked,  here  nor  abroad.  Daniel 
Vierge  is  a classic  example;  Aubrey  Beardsley  applied  the  use  of  black  spaces  (as  did  the  fifteenth  century 
illustrators  of  Italy  and  the  Japanese  print  makers)  with  an  ultra-modern  refinement.  And  in  the  present 
section,  no.  238-240  are  based  on  the  use  of  lines  and  solid  blacks.  The  pen  is  especially  the  medium  of 
peculiar  fitness  in  these  days  of  photomechanical  reproduction,  the  advantage  of  which  for  book  illustration 
Pennell  insisted  on  years  ago.  It  is  worth  noting  that  in  the  special  Studio  number  on  “Modern  illustrators 
and  their  work”  the  overwhelming  majority  of  the  drawings  reproduced  are  in  line. 


233.  Rubaiyat  of  Omar  Khayyam,  the  as- 
tronomer-poet of  Persia;  rendered  into 
English  verse  by  E.  Fitzgerald,  with  an 
accompaniment  of  drawings  by  E.  Vedder. 
Boston,  1884. 

Quatrains  4—10. 

Each  page  of  the  book,  text  as  well  as  the  design 
surrounding  it,  was  drawn  by  Vedder.  Thus,  while 
not  an  example  of  a harmonious  combination  of  type- 
printing and  illustration,  the  book  is  indeed  cast  in 
one  piece. 


234.  Keats,  John.  Lamia.  With  illustra- 
tive designs  by  Will  H.  Low.  Philadel- 
phia, 1885. 

Page  26:  Plate  and  tail-piece. 

For  the  “Odes  and  sonnets ’’  of  Keats  (1887),  Low 
designed  illustrations,  decorative  floral  panels,  covers 
and  lining  papers.  In  the  illustrations,  said  the 
New  York  Tribune  of  Dec.  13,  1887,  he  “approached 
his  difficult  task  in  a spirit  of  perfect  sympathy  and 
sincerity.”  This  unity  in  the  design  of  a book  has 
from  time  to  time  attracted  the  attention  and  effort 


34 


THE  NEW  YORK  PUBLIC  LIBRARY 


The  “Book  Beautiful,”  continued. 

of  those  interested  in  the  production  of  books  har- 
monious in  effect. 

The  illustrations,  like  those  in  no.  235,  are  photo- 
mechanical reproductions  of  brushed  drawings. 

235.  Rossetti,  Dante  Gabriel.  The  blessed 
damozel.  With  drawings  by  Kenyon  Cox 
[and  an  Appendix  by  Mrs.  Schuyler  Van 
Rensselaer).  New  York,  1886. 

First  verse,  showing  plate,  head-piece  and  initial 
letter. 

“It  was  no  easy  task  to  reproduce  in  pictures  this 
blending  of  the  spiritual  with  the  human...  The 
design  which  interprets  that  moment  when  the  lovers 
shall  ask  permission  ‘only  to  live  as  once  on  earth 
with  Love’  is  an  interpretation  and  not  a mere 
illustration  of  the  expressed  idea. . . Artist  and 
publisher  have  been  wise  in  keeping  the  main  designs 
wholly  free  from  any  intrusion  of  the  text...  Even 
when  a design  is  illustrative. . .it  should  be  a picture 
still,  and  the  beauty  and  purity  of  its  composition 
carefully  guarded.”  — M.  G.  Van  Rensselaer. 

The  illustrations  are  reproductions  of  brushed 
drawings,  the  full-page  plates  being  pictures  in  the 
sense  of  the  preceding  paragraph. 

236.  Browning,  Elizabeth  Barrett.  Son- 
nets from  the  Portuguese;  illustrated  by 
Ludwig  Sandoe  Ipsen.  Boston,  1886. 

Elaborate  ornamental  borders  in  line. 

Verse:  Can  it  be  right  to  give? 

237.  Tile  Club,  New  York.  A book  of 
the  Tile  Club.  Boston,  1887. 

Illustrations  in  “phototype.” 

Page  2 : Plate  by  Frederick  Dielman  and  two  illus- 
trations by  F.  Hopkinson  Smith. 

238.  The  Altar  book:  containing  the  order 
for  the  celebration  of  the  Holy  Eucharist 
according  to  the  use  of  the  American 


Church:  mdcccxcii.  [Copyright  1895  and 
1896,  by  D.  B.  Updike., 

From  the  colophon:  “The  plates  are  designed  by 
Robert  Anning  Bell;  the  borders,  initials,  type  and 
cover  by  Bertram  Grosvenor  Goodhue,  and  the  colo- 
phons are  engraved  by  Charles  Sherborn.” 

Opened  at  Easter  Day. 

Lent  by  the  owner. 

“Bertram  Grosvenor  Goodhue  and  Will  Bradley, 
two  artists  whose  work  in  book  illustration  stands  in 
a class  by  itself.  Much  of  Goodhue’s  work  reflects 
the  Morris  influence,  as  will  be  seen  in  the  page 
shown  from  ‘Esther,’  but  his  ability  in  original  design 
is  indicated  by  the  border  and  initial  of  the  ‘Songs 
of  Heredia,’  which  is  given  on  the  same  page.”  — 
William  Dana  Orcutt,  in  “The  art  of  the  book.  C. 
Holme,  editor,”  London:  The  Studio,  1914,  p.  261. 

239.  Bradley:  his  book.  Special  Christ- 
mas number.  Vol.  2,  no.  2,  December,  1896. 
Springfield,  Mass. 

Pages  50-51,  showing  two  original  woodcuts  by 
Will  H.  Bradley,  printed  in  black,  with  borders 
printed  in  red. 

Lent  by  the  owner. 

“Bradley’s  work  evidences  the  greatest  versatility 
of  any  decorative  artist  America  has  produced.  Some 
of  his  work  shows  Beardsley’s  influence,  but  no 
single  influence  could  control  so  original  a genius  as 
Bradley  has  proved  himself  to  be.  The  two  examples 
reproduced  here  represent  the  extremes  in  his  work 
- — one  drawn  with  a delicacy  and  accuracy  of  line 
which  is  marvellous  in  its  execution;  the  other  bold 
and  heavy,  giving  a woodcut  effect.”  — William 
Dana  Orcutt,  in  “The  art  of  the  book,”  p.  261. 

240.  Bunyan,  John.  Pilgrim’s  progress 

Embellished  with  over  one  hundred 

and  twenty  designs,  done  by  three  brothers, 
George  Wooliscroft  Rhead,  Frederick 
Rhead,  Louis  Rhead.  New  York:  Century 
Co.,  1898. 

Illustrations  and  borders.  Line  drawings. 

Page  xvm. 


Some  Principles  of  Harmonious  Book-Making 

This  section  makes  its  emphasis  more  by  comment  and  quotations  than  by  exhibits.  Various  items 
throughout  the  exhibition  illustrate  the  indicated  principles  of  book  decoration.  Quite  obviously  does  the 
15th  and  early  16th  century  work  do  so  (e.  g.,  nos.  32-881.  And  of  modern  books  one  might  instance,  for 
example,  nos.  150  (Lepere),  166  (Sattler),  164  (Lilien),  220  (Pyle),  221  (Abbey),  229-231  (Beardsley),  232 
(Yierge),238  (Updike  and  Goodhue),  239  (Bradley),  in  addition  to  those  in  the  present  section. 

As  the  importance  of  certain  basic  principles  is  thus  underlined  all  through  the  exhibition,  by  examples 
and  comment,  the  present  section  forms  in  a measure  a textual  recapitulation.  The  few  books  that  go  with 
this  summary  are  therefore  to  be  considered  as  incidental  accompaniments,  not  as  a massing  of  absolute  criteria. 

Adornment  in  its  logical  conclusion  means  harmony,  — harmony  between  the  illustration  and  decora- 
tion and  the  printed  page.  That  inevitably  leads  to  illustration  in  line  drawing,  certainly  did  lead  there 
in  that  early  fifteenth  and  sixteenth  century  work,  particularly  in  Italy,  which  has  set  for  us  a standard 
in  book  making  that  must  not  be  lost  to  sight.  And  that  harmony,  again,  is  based  on  the  nature  of  the 
medium,  on  the  fact  that  typography  is  a relief  process  as  well  as  is  wood-engraving.  That,  of  course,  means 
that  cuts  and  text  are  printed  in  one  operation,  which  again  brings  in  business  economy  as  an  incidental 
factor  in  the  attainment  of  an  appropriateness  based  on  the  materials  used  and  on  the  end  in  view.  And 
thus  we  have  arrived  at  a fundamental  and  necessary  factor  in  all  the  arts. 

Malcolm  Salaman,  in  “Modern  book  illustrators,”  refers  repeatedly  to  the  importance  of  this  ideal 
of  harmonious  decorative  relation,  and  points  out  also  the  “distinction  between  illustration  that  is  merely 
reproductive  and  illustration  that  is  both  interpretative  and  decorative.”  The  “Book  Beautiful,  in  which 
the  printed  text  and  the  illustrative  scheme  are  conceived  as  a decorative  whole,  is  as  yet  a rare  thing.”  This 
point  of  view  is  emphasized  also  in  “The  Art  of  the  Book”  (London:  The  Studio,  1914),  in  which  numerous 
reproductions  of  titles,  borders,  decorations  show  how  the  principles  referred  to  have  been  applied  in  various 
European  countries  and  the  United  States. 

Men  such  as  William  Morris  in  England,  Joseph  Sattler  in  Germany,  Bruce  Rogers  and  T.  M.  Cleland 
in  the  United  States,  representing  different  national  and  individual  taste  and  temperament,  have  in  our 
times  clearly  brought  before  us  the  necessity  of  considering  the  relation  of  the  parts  of  a book  to  each  other, 
leading  to  unity  in  the  design  of  the  volume.  This  has  led  to  the  production  of  books  with  type,  pictures, 
end  papers  and  covers  designed  or  selected  by  one  artist.  The  importance  of  this  is  not  too  generally 
appreciated  to-day,  but  wood-engraving  has  played  its  part  in  helping  toward  its  realization. 

“Wood  engraving,”  says  Pennell  (p.  48),  “has  survived  the  mediaeval  mechanical  limitations  which 
were  imposed  upon  it  by  the  primitiveness  of  the  printing-press,  but  which  have  been  made  into  its  chief 


ILLUSTRATED  BOOKS  OF  THE  PAST  FOUR  CENTURIES 


35 


merits.  It  has  survived  the  ghastly  period  immediately  succeeding  Bewick,  when  the  sole  end  of  the 
engravers  on  wood  was  to  imitate  the  engraver  on  steel  or  on  copper.  It  has  survived  the  stage  of  the 
shop  run  by  a clever  business-man  who  merged  the  individuality  of  all  his  artists  and  engravers  into  that 
of  his  own  firm.” 

To-day  this  art  is  being  practiced  as  a “painter-art,”  a medium  for  original  expression,  mostly  with 
the  use  of  more  or  less  open  lines  and  flat  tints,  both  in  black-and-white  and  in  color.  And  some  of  its 
devotees  have  applied  themselves  to  occasional  illustration.  Lepere  for  example,  and  Gordon  Craig.  In 
this  country  Ruzicka  and  Lewis  have  illustrated  books  in  which,  again,  there  is  some  emphasis  on  the  direct 
harmony  existing  between  illustrations  in  line  and  the  printed  text.  Wood-engraving,  since  it  is,  like 
type-cutting,  a relief  process,  offers  a peculiarly  effective  proof  of  this  fundamental  factor  in  book  making. 

The  photo  mechanical  processes  have  brought  good  art  where  it  was  not  so  easily  brought  before. 
But  they  have  not  been  an  entirely  unmixed  good.  Also,  the  ease  of  reproducing  drawings  done  in  wash 
or  oils  has  dimmed  to  sight  the  essential  significance  of  the  line.  The  close  relation  between  printing-type 
and  the  line-drawn  illustration,  ornament  or  initial,  is  apt  to  be  overlooked. 

And  yet  process-work  offers  remarkable  opportunities  for  reproduction  in  line,  as  is  pointed  out  by 
Pennell  (p.  33-34): 

“As  the  invention  of  printing  gave  the  first  great  impetus  to  illustration,  so  surely  has  it  received 
its  second  and  more  important  from  the  invention  of  photography...  Greater  ease  of  reproduction,  greater 
speed,  greater  economy  of  labour  have  been  secured,  as  well  as  greater  freedom  for  the  artist,  and  greater 
justice  in  the  reproduction  of  his  design...  If,  on  the  one  hand,  this  popularity  threatens  its  degradation 
(foolish  editors  and  grasping  publishers  flooding  the  world  with  cheap  and  nasty  illustrated  books  and 
periodicals),  on  the  other,  the  artistic  gain  promises  to  be  its  salvation,  for  not  in  the  days  of  Diirer  himself 
was  so  large  a proportion  of  genuinely  good  work  published.” 

The  books  listed  in  this  section  happen  to  be  all  illustrated  with  wood-engravings.  But  others,  men- 
tioned in  the  introductory  paragraph  of  this  same  section,  show  what  process  can  do.  The  process  is  there, 
with  fine  possibilities.  Taste  and  discrimination  will  use  it  to  the  best  advantage. 


241.  Morris,  William.  The  life  and  death 
of  Jason.  A poem  by  William  Morris. 
Kelmscott  Press,  1895. 

Two  woodcuts  designed  by  Sir  Edward  Burne* 
Jones,  and  borders. 

Page  1:  Title  and  frontispiece , showing  illustration 
and  borders. 

“William  Morris’s  types  should  be  judged  on  the 
setting  of  richly  decorated  borders  which  he  designed 
for  his  pages.  Adding  to  these  the  designs  of  Sir 
Edward  Burne-Jones,  engraved  on  wood  by  W.  H. 
Hooper,  we  have  in  the  Kelmscott  ‘Chaucer’  the 
most  splendid  book  which  has  ever  been  printed.”  — 
The  art  of  the  book  (London:  The  Studio),  1914,  p.  7. 

“In  Mr.  Morris’s  ornaments  and  initials,  nearly 
always  admirably  harmonious  in  their  quantities  with 
the  character  and  mass  of  the  type,  we  may  perhaps 
trace  mixed  influences  in  design...  These  influ- 
ences, however,  only  add  to  the  distinctive  character 
and  richness  of  the  effect,  and  no  attempt  is  made 
to  get  beyond  the  simple  conditions  of  bold  black 
and  white  designs  for  the  woodcut  and  the  press. 

“Mr.  Morris  adopts  the  useful  canon  in  printing 
that  the  true  page  is  what  the  open  book  displays  — 
what  is  generally  termed  a double  page.”  — Crane, 
p.  193-194. 

“Charles  Ricketts  and  Charles  Shannon ...  issued 
The  Dial  in  1889...  Ricketts,  Shannon,  Sturge 
Moore,  Reginald  Savage,  and  Lucien  Pissarro  cut- 
ting their  lovely  designs  upon  the  wood.  From  the 
enthusiasm  that  produced  The  Dial  grew  the  Vale 
Press,  which.  . .has  given  so  much  joy  to  bibliophiles, 
a joy  that  Mr.  Pissarro  continues  to  give  with  the 
delicately  lovely  books  he  issues  from  his  Eragny 
Press,  in  which  the  ideal  of  harmonious  relation 
between  lettering  and  pictorial  adornment  is  logically 
realized  with  exquisite  results.”  — Salaman,  p.  8. 


242.  Hofmannsthal,  Hugo  von.  Der 
weisse  Facher:  ein  Zwischenspiel. . . Mit 
vier  Holzschnitten  von  Edward  Gordon 
Craig.  Leipzig:  Insel-Verlag,  1907. 

Plate  1 : Der  Prolog. 

243.  MacVeagh,  Mrs.  Charles.  Foun- 
tains of  papal  Rome.  Illustrations  drawn 
and  engraved  on  wood  by  Rudolph  Ru- 
zicka. New  York,  1915. 

Page  136. 

“Ruzicka’s  sensitive  suppleness  may  be  clearly 
seen ..  .from ..  .the  Roman  Fountains...  In  these 
prints,  without  the  aid  of  color,  he  has  by  a very 
beautiful  and  brilliant  handling  of  his  masses  of 
black  and  white. . .captured  the  robust  exuberant  fan- 
tasy of  the  Imperial  City.”  — W.  M.  Ivins,  Jr. 

243a.  Brooks,  Charles  Stevens.  Journeys 
to  Bagdad;  illustrated  with  original  wood- 
cuts  by  Allen  Lewis.  New  Haven,  Conn., 
1915. 

Page  42. 

The  upshot  of  all  that  has  been  said  is  that  the 
sense  of  appropriateness  that  fits  the  proper  medium 
to  the  end  in  view  obtains  here  as  in  any  art.  It 
cannot,  of  course,  be  exercised  toward  the'  produc- 
tion of  a book  harmonious  in  all  its  parts  unless 
those  concerned  — illustrator,  printer,  binder  — also 
are  in  harmonious  accord.  In  the  end,  it  is  after 
all  more  important  that  we  produce  well  — not  neces- 
sarily sumptuously  — illustrated  books,  than  that 
we  produce  many  of  them.  By  collecting  and  pre- 
serving the  finest  examples  of  the  art  we  obtain 
sources  of  inspiration  for  designers  of  this  day  and 
days  to  come. 


Illustrations  in  Color 

See  also  no.  19,  20,  25,  27. 

The  color-plate  forms  an  interesting  specialty  by  itself.  As  to  its  justification,  that  is  a matter  of 
personal  opinion.  It  may  very  well  be  argued  that  color  has  no  place  in  book  decoration.  The  fact  remains 
that  the  tendency  to  color  pictures  has  been  with  us  at  most  times.  Some  of  the  earliest  woodcut  illustra- 
tions, especially  in  Germany,  were  directly  designed  to  be  colored.  The  later  French  books  of  hours,  issued  bv 
Hardouyn,  often  have  the  engravings  so  opaquely  colored  that  the  printed  work  is  quite  covered  and  you  get 
the  effect  of  an  illumination.  When  aquatint  came  into  use,  in  the  early  nineteenth  century,  its  imitation  of 
wash  drawings  was  further  aided  by  washes  of  color.  (Turner  and  Thomas  Girtin  both,  as  boy  apprentices,  laid 
such  washes  for  publishers;  one  recalls  R.  L.  Stevenson’s  “a  penny  plain,  two  pence  colored.”)  And  later 
came  the  ingenuous  charm  of  Kate  Greenaway,  and  the  rollicking  jollity  of  Randolph  Caldecott.  With 
the  development  of  the  half-tone  process  into  the  field  of  color,  a veritable  riot  of  color-work  ensued. 


36 


THE  NEW  YORK  PUBLIC  LIBRARY 


Putting  aside  the  evidently  negligible  portion,  there  remains  much  good  work.  The  flat  tints  of  Boutet  de 
Monvel,  the  richness  of  Rackham.or  Dulac,  the  crayon-like  lightness  of  Jessie  Wilcox  Smith,  the  insistent 
realism  of  Howard  Pyle,  the  intensely  decorative  quality  of  Parrish.  There  is  choice  enough  in  all  this 
variety  of  things  that  are  just  as  pleasing  separately  as  in  the  book  of  which  they  often  do  not  appear  to 
form  a necessary  part.  


Aquatint  is  a pleasing  art  within  its  limits,  with  a liquid,  translucent  effect.  Its  resemblance  to  water- 
color  or  sepia  washes  is  apparent,  and  it  was  employed  by  its  supposed  inventor,  Le  Prince,  to  reproduce 
in  facsimile  wash  drawings  made  by  him  in  Russia.  For  several  decades  it  served  in  England  as  the  special 
medium  for  the  illustration  of  books  of  travel.  


244.  Ayton,  Richard.  A voyage  round 
Great  Britain. . . With  a series  of  .views. . . 
by  William  Daniell.  London,  1814-25.  8 v. 

Aquatints. 

Vol.  7,  p.  26:  Dover,  from  Shakespeare’s  Cliff. 
Drawn  & engraved  by  Willm  Daniell. 

“Ayton’s  ‘Voyage  Round  Great  Britain’. . .is  typi- 
cal of  the  very  best  produced  in  aquatints  for  such 
hooks  of  travel.  The  plates  are  colored  by  hand  in 
washes  of  quiet  tints,  mingling  with  the  aquatint 
into  one  effect.  . . The  tender  fleeciness  of  cloud  in 
‘The  Reculvers’  or  ‘Dover,  from  Shakespeare’s  Cliff’ 
(both  in  vol.  vii)  ; the  frequent  stretches  of  placid 
reflecting  water,  the  rushing  swells  and  whirling 
spray  of  ‘Kinnaird  Head,  Aberdeenshire’  (vol.  vi); 
the  clean,  neat,  toy-house  view  of  ‘Edinburgh  from 
the  Calton  Hill’  (vol.  vi);  and  the  plate  following  it, 
with  sun-streaked  cloud,  ‘Edinburgh,  with  Part  of 
the  North  Bridge  and  Castle’ ...  seem  to  mark  the 
limit  of  attainment.”  — Weitenkampf,  p.  135. 

245.  A History  of  the  LTniversity  of  Ox- 

ford, its  colleges,  halls,  and  public  build- 
ings. London:  R.  Ackermann,  1814.  2 v. 

f°. 

Colored  aquatints,  by  J.  Bluck,  J.  Hill,  D.  Havell, 
J.  C.  Stadler,  F.  C.  Lewis,  G.  Lewis,  W.  Bennett... 
after  A.  Pugin,  F.  Nash,  F.  Mackenzie,  W.  Turner, 
W.  Westall.  These  are  all  views  of  buildings.  There 
are  also  portraits  in  line  and  stipple,  and  a number  of 
costume  plates  engraved  in  line  by  J.  Agar. 

Vol.  1,  p.  125:  Queen’s  College  Chapel.  A.  Pugin, 
dclt.  J.  C.  StadleP,  sculpt. 

246.  The  Microcosm  of  London.  London 

[1808].  3 v.  (R.  Ackermann’s  Repository 

of  arts . . . ) 

Illustrations  by  Thomas  Rowlandson  and  A.  Pugin. 
Text  by  W.  H.  Pyne  (v.  1-2)  and  W.  Combe  (v.  3). 

The  preface  informs  us  that:  “The  architectural 
subjects  will  be  delineated  by  Mr.  Pugin,  whose  un- 
common accuracy  and  elegant  taste  have  been  dis- 
played in  his  former  productions.  The  figures  are 
from  the  pencil  of  Mr.  Rowlandson,  with  whose  pro- 
fessional'talents  the  public  are  already  so  well  ac- 
quainted.” 

Vol.  1,  p.  126,  plate  19:  Water  Engine.  Cold-Bath- 
Ficld's  Prison.  Pugin  & Rowlandson  del.  et  sculpt. 
J.  Bluck  aquat. 

“Let  us  consider  how  one  of  Rowlandson’s  plates 
for  this  work  would  be  produced.  The  artist  was 
summoned  to  the  Repository  and  supplied  with  paper, 
reed-pen,  Indian  ink,  and  water-colour...  With  his 
rare  certainty  of  style,  he  made  a sketch.  . . This  he 
etched  in  outline  on  a copper  plate,  and  a print  was 
immediately  prepared  on  drawing-paper.  Taking  In- 
dian ink,  he  added  the  delicate  tints  that  expressed 
modelling  and  shadowing.  The  copper  plate  was  then 
handed  to  one  of  Ackermann’s  numerous  staff  of 
engravers  — Bluck,  Stadler,  Havell,  and  the  rest. 
When  Rowlandson  returned  in  the  afternoon  he 
would  find  the  shadows  all  dexterously  transferred 
to  the  plate  by  aquatint.  Taking  a proof  of  this, 
the  artist  completed  it  in  those  light  washes  of  colour 
so  peculiarly  his  own;  and  this  tinted  impression 
was  handed  as  a copy  to  the  trained  staff  of  colour- 
ists, with  years  of  practice  under  Ackermann’s  super- 
vision.” — M.  Ilardie,  “English  coloured  hooks,”  p. 
90-91. 

247.  Egan,  Pierce.  Life  in  London... 
Embellished  with  thirty-six  scenes  from 


real  life,  designed  and  etched  by  I.  R.  & 

G.  Cruikshank;  and  enriched  also  with 
numerous  designs  on  wood,  by  the  same 
artists.  London,  1822. 

Aquatints. 

Page  184:  Tom  and  Jerry  in  trouble  after  a spree. 

248.  Real  life  in  London...  Embel- 

lished  and  illustrated  with  a series  of  col- 
oured prints  designed  and  engraved  by 
Messrs.  Heath,  Aiken,  Dighton,  Rowland- 
son, &c.  London,  1829-30.  2 v. 

Aquatints. 

Vol.l,  title-page:  Real  Life  in  London.  W.  Read 
del  et  sculpt. 

Vol.  2,  p.  536:  Ascot  Races.  Drawn  & etched  by 

H.  Aiken  Esq. 

249.  Combe,  William.  The  tour  of  Doc- 
tor Syntax,  in  search  of  the  [picjturesque. 
A poem.  . .[by  William  Combe.)  [London, 
1812.)  30  colored  pi. 

Aquatints. 

Page  150:  Dr.  Syntax.  Rural  Sport.  Designed 
and  etched  by  Rowlandson. 

250.  Blake,  William.  Milton:  a poem  in 
12  books.  The  Author  & Printer  W.  Blake, 
1804.. 

“Printed  in  black,  painted  with  water-colors... 
Only  two  other  copies  known,  one  in  the  British 
Museum,  and  one  in  the  Lenox  Library,  now  The 
New  York  Public  Library.  The  Lenox  copy... has 
forty-nine  plates,  four  more  than  this  copy.  . . The 
illustrations  are  carefully  finished,  in  the  same  man- 
ner as  those  of  Urizen,  and  produce  the  effect  of 
water-color  drawings.  . . Different  colors,  harmoni- 
ously blended,  are  washed  across  many  of  the  plates, 
producing  an  indescribably  brilliant  effect.”  — Cata- 
logue of  books,  engravings,  water-colors  and  sketches 
by  William  Blake,  Grolier  Club,  1905,  p.  53,  57. 
The  introductory  note  to  this  catalogue  gives  a de- 
scription of  Blake’s  method  of  printing  and  coloring 
his  illustrations. 


“A  very  charming  phase  of  book-illustration  fol- 
lowed close  upon  this  great  black-and-white  period, 
and  it  was  a phase  of  colour.  The  flat  wood-block 
process  was  developed  by  Edmund  Evans,  the  colour- 
printer,  and,  encouraged  by  him,  three  gifted  artists 
of  severally  distinctive  styles  exploited  its  possibili- 
ties with  distinguished  and  popular  success.  Ran- 
dolph Caldecott,  Kate  Greenaway,  and  Walter  Crane 
— their  very  names  call  to  mind  a captivating  series 
of  picture-b’ooks  in  which  their  fancies  made  dainty 
frolic  and  revel  for  the  delight  equally  of  children 
and  grown-ups.”  — Salaman,  p.  7. 

“Edmund  Evans’s  name  will  always  be  associated 
with  cheap  colour-illustrated  children’s  books.  In 
this  connection  may  be  mentioned  that  charming  little 
book,  Baby’s  Opera,  illustrated  by  Walter  Crane... 
The  very  numerous  children’s  books  so  quaintly  and 
daintily  illustrated  by  Kate  Greenaway  were  also 
turned  out  from  the  “Racquet  Court  Press,”  as  Mr. 
Evans  termed  his  printing  establishment.  . . Ran- 
dolph Caldecott  was  another  popular  illustrator  of 
children’s  books  whose  designs  were  reproduced  by 
Evans.”  — R.  M.  Burch,  Colour  printing,  London, 
1910,  p.  154-158. 


ILLUSTRATED  BOOKS  OF  THE  PAST  FOUR  CENTURIES 


Illustrations  in  Color,  continued. 

251.  Language  of  flowers;  illustrated  by 
Kate  Greenaway.  Printed  in  colours  by 
Edmund  Evans.  London  [1884j. 

Pages  26-27 . 

252.  Greenaway,  Kate.  Under  the  win- 
dow. Pictures  and  rhymes  for  children  by 
Kate  Greenaway.  Engraved  and  printed 
by  Edmund  Evans.  London,  no  date. 

Title-page. 

“Under  the  window,  published  1878,  was  epoch- 
making.  When  the  original  drawings  for  Under  the 
window  were  exhibited.  . .Ruskin  exhausted  the  splen- 
dours of  his  vocabulary ...  and  Austin  Dobson  wrote 
that  ‘since  Stothard,  no  one  has  given  us  such  a clear- 
eyed,  happy-hearted  childhood.’  The  appreciation  of 
Kate  Greenaway’s  work  was  universal.  In  France 
its  reception  was  always  enthusiastic...  The  Temps 
said:  ‘Never  has  a sweeter  soul  interpreted  infancy 
and  childhood  with  more  felicity.’  ” — Kate  Green- 
away, by  M.  H.  Spielmann  and  G.  S.  Layard,  New 
York  and  London,  1905,  p.  60,  63,  268-269. 

On  pages  64-65  of  this  biography  appears  a de- 
scription of  the  process  of  color-printing  by  Edmund 
Evans  himself. 

253.  Crane,  Walter.  The  baby’s  opera. 
A book  of  old  rhymes  with  new  dresses. 
Engraved,  and  printed  in  colours,  by  Ed- 
mund Evans.  London,  New  York  [1877]. 

Pages  36-37 : Little  Bo-Peep. 

“ ‘The  Baby’s  opera’  (1877),  ‘The  Baby’s  bouquet* 
(1879),  and  ‘Baby’s  own  ^Esop’  (1887) ..  .form  the 
second  group  of  Walter  Crane’s  books  for  the  nur- 
sery... Already  in  ‘The  Baby’s  opera’  strong  colors 
cannot  be  found,  the  harmonies  being  delicate  and 
subtle.  The  border  designs  are  lovely  effects  obtained 
by  the  simplest  of  means.  The  range  of  motives  in 
the  border  designs  is  varied ..  .every  line  intimately 
connected  with  some  passage  of  the  song...  No 
printed  type  has  been  used  for  the  lettering,  which 
forms  an  integral  part  of  the  drawings.  . .to  balance 
the  design.”  — P.  G.  Konody,  The  art  of  Walter 
Crane,  London,  1902,  p.  41,  42,  44. 

254.  Caldecott,  Randolph.  Randolph  Cal- 
decott’s collection  of  pictures  and  songs. 
All  exhibited  in  beautiful  engravings... 
engraved  and  printed  by  E.  Evans.  Lon- 
don [188-?]. 

Page  14:  The  three  jovial  huntsmen. 

‘‘Who  has  not  laughed  and  rejoiced  over  Calde- 
cott’s ‘John  Gilpin’  and  his  inimitable  Goldsmith  and 
Washington  Irving  illustrations,  with  their  breezy 
humour,  their  happy,  lively  art?”  — Salaman,  p.  7. 

255.  Pyle,  Howard.  Pictures  from  Thack- 
eray — “Beatrix  and  Esmond.”  Painted 
for  Harper’s  magazine  by  Howard  Pyle. 

Half-tone. 

256.  Clark,  Walter  Appleton.  Illustration 
for  “The  awakening  of  Helena  Ritchie.” 
“Resting  her  cheek  on  his  thatch  of  yellow 
hair.”  From  Harper’s  magazine  for  June, 
1906. 

Half-tone. 

257.  Parrish,  Maxfield.  [Illustration  for 
Milton’s  L’AIlegro.]  “Such  sights  as 
youthful  poets  dream,  On  Summer  eves  by 
haunted  stream.” 

Half-tone. 

258.  Arabian  nights.  Their  best-known 
tales,  edited  by  Kate  Douglas  Wiggin  and 


Nora  A.  Smith.  Illustrated  by  Maxfield 
Parrish.  New  York,  1912. 

Page  202:  At  the  approach  of  evening... 

259.  Eaton,  Walter  Prichard.  New  York; 
a series  of  wood  engravings  in  colour  and 
a note  on  colour  printing  by  Rudolph  Ru- 
zicka,  with  prose  impressions  of  the  city 
by  Walter  Prichard  Eaton.  New  York: 
The  Grolier  Club,  1915. 

Page  55. 

‘‘There  is  an  air  of  great  conviction  and  finality 
about  everything  he  does.  His  New  York  scenes  are 
admirable.”  — Sun  (New  York),  May  7,  1910. 

‘‘Ruzicka’s  superb  wood-cuts  of  Manhattan,  pub- 
lished by  the  Grolier  Club,  in  a limited  edition.”  — 
W.  P.  Eaton,  in  The  Bookman,  Sept.,  1918. 

‘‘To  his  technical  competency  he  has  joined  a keen 
sense  of  the  very  real  poetry  of  the  brick  and  mortar 
of  New  York  and  Boston.”  — W.  M.  Ivins,  jr. 

260.  Shakespeare’s  comedy  of  The  Tem- 
pest with  illustrations  by  E.  Dulac.  Lon- 
don [1908]. 

Process  (half-tone). 

Page  58:  Act  2,  scene  2. 

261.  Mother  Goose:  the  old  nursery 

rhymes  illustrated  by  Arthur  Rackham. 
New  York:  Century  C6.,  1913. 

Half-tones. 

Title-page  and  frontispiece. 

“The  wizardry  of  Rackham’s  alertly  imaginative 
art,  with  its  flights  of  grotesque  or  romantic  fan- 
tasy. . . Whose  elves  are  so  elfish,  whose  witches  and 
gnomes  are  so  convincingly  of  their  kind?  His  line, 
with  its  distinctive  accent,  is  his  very  own;  so  are 
his  colour-tones.  . . With  all  this,  Mr.  Rackham’s 
pictorial  invention  is  essentially  decorative.”  — Sala- 
man, p.  9,  10. 

262.  France,  Anatole.  Filles  et  gargons 
...  Illustrations  de  M.  B[Outetj  de  Mon- 
vel.  Paris  [1915]. 

Color  plates  and  black-and-white  illustrations. 

Page  20. 

263.  Musaeus,  J.  K.  A.  Die  Buecher  der 
Chronika  der  drei  Schwestern.  Ulustrirt 
von  H.  Lefler  und  J.  Urban.  Berlin,  1900. 

The  plates  are  partly  in  color.  Printed  at  the 
Reichsdruckerei. 

Pages  38,  39. 

264.  Larsson,  Carl  Olof.  Spad-arvet  mitt 
lilla  landtbruk;  24  malningar  med  text  och 
teckninger  af  Carl  Larsson.  [Stockholm, 
1906., 

Color-plates  (process:  “Kromotypier”)  and  black- 
and-white  illustrations. 

Title-page. 

265.  Pushkin,  Aleksandr  Sergyeyevich. 
The  golden  cock.  [In  Russian.,  Illus- 
trated by  I.  A.  Bilibin.  [St.  Petersburg?] 
1907. 

Pages  6-7. 

266.  Bartos,  Frantisek.  Kytice  z lidoveho 
basriictva  nasim  detem.  Kresby  Adolfa 
Kaspara.  [Little  gems  from  the  people’s 
folklore  to  our  children.  Illustrated  by, 
Kresby  Adolfa  Kaspara.  Olomouci  [n.  d.,. 

Pages  38-39. 


INDEX 


This  is  an  index  mainly  to  the  exhibits,  and  includes  authors,  artists,  engravers,  and  some  publishers 
and  printers,  of  books  shown.  It  also  refers  to  processes  (engraving,  etc.).  It  does  not  point  the  way  to 
every  name  that  happens  to  be  mentioned  in  titles  or  notes. 

The  numbers  refer  to  the  numbers  of  the  entries,  not  to  the  pages. 


A 

Abbey,  E.  A.,  221. 

Adams,  J.  A.,  201,  202. 

Aesop  (Naples,  1485),  35. 

Alenza,  139. 

Aiken,  Henry,  248. 

Allingham,  William,  Music  master  (1855),  175. 
Almanacs,  107;  Books  of  hours,  70—87. 

Altar  Book,  238. 

Altdorfer,  Albrecht,  56. 

American  illustration,  15-22,  199— 228,  233-240,  243— 
244,  255-259. 

Amman,  Jost,  64. 

Anabat,  Guillaume,  80-82. 

Anderson,  Alexander,  168  note,  199-200. 

Andrew,  G.  T.,  206. 

Andrews,  W.  L.,  Old  booksellers  of  New  York,  112; 

New  York  as  Washington  knew  it,  113. 

Anthony  & Davis,  208. 

Apocalypse  (Duerer),  52. 

Apuleius  (1880),  119. 

Aquatints,  244-249. 

Arabian  nights,  174,  190,  258. 

Ariosto,  Orlando  Furioso,  144. 

Arnold,  Clara,  The  Magnolia,  20. 

Arnold,  Sir  Edwin,  Japonica  (New  York,  1891),  222. 
Ars  moriendi,  45. 

Assassination  of  L.  S.  Dentatus,  173. 

Atlantic  Souvenir  (1838),  16. 

Aus  Konig  Friedrich’s  Zeit,  158. 

Ayton,  Richard,  Voyage  round  Great  Britain  (Lon- 
don, 1814-25),  244. 


B 

41-42. 

B.  V„  87. 

Baldini,  Baccio,  34. 

Balzac,  Contes  drolatiques,  142. 

Banville,  Theodore  de,  Nouvelles  odes  funambu- 
lesqucs  (1869),  115. 

Baquoy,  101. 

Ilartos,  Frantisek,  266. 

Basan,  94. 

Baxter,  George,  25. 

Bayard,  E.,  L’lllustration,  13. 

Beardsley,  Aubrey,  229-231. 

Ilcaute  morale  dcs  jcunes  femmes,  27. 

Beck,  57-58. 

Bellini,  Gentile,  40  note. 

Benalius,  Bernardinus,  37. 

Bcrangcr,  P.  J.  de,  (Euvrcs  (1847),  108. 

Bcrgomensis,  Supplementum  Chronicarum  (1486), 
37;  (1503),  38. 

Bewick,  Thomas,  167—171,  199. 

Bible  illustrations  (Venice,  1490),  39  note,  41;  Hol- 
bein, 60;  Schnorr  (1860),  155;  Lilien  (1908-12), 
164;  New  York  (1846),  201. 

Bilibin,  I.  A.,  265. 

Blake,  William,  250. 


Blessington,  Countess  of,  Gems  of  beauty,  26. 

Block  book,  45. 

Bluck,  J.,  246. 

Blum,  Robert,  223. 

Boccaccio,  68  note,  91. 

Bohemian  illustration,  266. 

Bonaventura,  Devote  meditatione  (Venice,  1490),  39. 
Bonington,  R.  P.,  125. 

Boninus  de  Boninis,  33,  36. 

Books  of  hours,  70-87. 

Boos,  Heinrich,  Geschichte  der  rheinischen  Stadte- 
kultur  (1897-1901),  166. 

Botticelli,  34. 

Boucher,  F.,  90. 

Boutet  de  Monvel,  L.  M.,  262. 

Bradley,  Will  H.,  239. 

Brant,  Sebastian,  Narrenschiff,  50. 

Brennan,  A.  L.,  227. 

Breu,  57. 

Breydenbach,  B.  von,  Peregrinationes,  46,  48  note. 
British  illustrations,  12;  15th -16th  centuries,  65—68; 
19th  century,  23-26,  167-198,  241-242,  244-254, 
260-261. 

Brock,  C.  E.,  228  note. 

Brock,  H.  M.,  228  note. 

Brooks,  C.  S.,  Journeys  to  Bagdad  (New  Haven, 
1915),  243a. 

Browning,  Elizabeth  B.,  Sonnets  from  the  Portu- 
guese (Boston,  1886),  236. 

Brush-work,  for  wood-engraving,  185  note,  187  note, 
198  note,  210  note,  211,  213;  for  photomechanical 
process,  214—219,  234—235. 

Bry,  Theodore  de,  31. 

Bryant,  W.  C.,  Picturesque  America,  205. 

Bunyan,  John,  Pilgrim’s  progress  (New  York,  1898), 
240. 

Burgkmair,  57-58. 

Burne-Jones,  Sir  Edward,  241. 

Byron,  The  dream,  179. 


c 

Caldecott,  Randolph,  254. 

Caricatures,  114,  130. 

Carroll,  Lewis,  Alice  in  Wonderland,  196. 

Cars,  Laurent,  90. 

Caxton,  William,  65-66. 

Cervantes,  Miguel,  Don  Quixote,  136,  232. 

Cessolis,  J.  de,  Game  of  chesse,  65. 

Chadwick,  C.  W„  213. 

Champollion,  E.  A.,  116. 

Chapman,  J.  G.,  16—17,  201-202. 

Chappiel,  Ant.,  78. 

Charlet,  N.  T.,  127-128. 

Chodowiecki,  Daniel,  107. 

Cistercian  Monastery,  Zinna,  49a. 

Clark,  W.  A.,  215,  256. 

Claudin,  A.,  Histoire  de  l’imprimerie  en  France,  70. 
Cleaveland,  N.,  Greenwood  illustrated,  21. 

Clennell,  Luke,  171. 

Codecha,  Math,  di,  39. 


[ 38  ] 


ILLUSTRATED  BOOKS  OF  THE  PAST  FOUR  CENTURIES 


39 


Colonna,  F.  de,  Hypnerotomachia  Poliphili,  42-43. 

Color  work,  Early  hand-colored  wood -cuts,  French, 
69,  81,  82  note,  84;  German,  46,  48  note,  57; 
Italian,  4C  note,  44  note; — Line  engravings 
colored  by  hand,  27;  — Lithographs,  19-20;  — 
Baxter  prints,  25;  — Aquatints,  244-249;  — Wil- 
liam Blake,  250;  — Modern  wood -engravings, 
251-254,  259;  — Process  work,  255-258,  260-266. 

Combe,  William,  Tour  of  Doctor  Syntax  (London, 
1812),  249. 

Copia,  104. 

Copper,  Engraving  on.  See  Aquatint;  Engraving 
(Line);  Etching;  Mezzotint. 

Corbaux,  Miss  F.,  25. 

Cornhill  magazine,  188. 

Cox,  Kenyon,  235. 

Craig,  Edward  Gordon,  242. 

Cranach,  Lucas,  59. 

Crane,  Walter,  253. 

Cross-hatching  in  engraving,  48  note,  159  note,  175 
note. 

Cruikshank,  G.,  114,  247. 

Cruikshank,  I.  R.,  247. 

Curtis,  G.  W.,  Prue  and  I (New  York,  1893),  223. 

Cuts,  migration  of,  33,  39,  44,  53,  59,  67-68,  74;  — 
Copied,  pirated  or  imitated,  32,  37,  39,  41,  44, 
50,  53,  66a,  82,  168. 


D 

Dalziel,  George  and  E.,  175,  177,  179,  184-187,  189- 
194,  196. 

Dance  of  Death,  Holbein,  61;  — Rethel,  154. 

Daniel!,  William,  244. 

Dante  (1481),  34;  (1487),  36;  (1861),  145,  163. 
Darley,  F.  O.  C.,  Ill,  132,  203,  203a,  203b,  204. 
Death,  Dance  of,  61,  154. 

Delacroix,  E.,  122-124. 

Deland,  Margaret,  Awakening  of  Helena  Ritchie,  256. 
Delvau,  Les  dessous  de  Paris  (1862),  115;  — Le 
fumier  d’Ennius  (186S),  115. 

Denon,  98. 

Dentatus,  Assassination  of,  173. 

Dickens,  Charles,  Oliver  Twist,  111. 

Dielman,  Frederick,  237. 

Dobson,  Austin,  Ballad  of  Beau  Brocade  (London, 
1893),  228. 

Doctrina,  vita  et  Passio  Iesv  Christi  (1537),  63. 
Dorat,  Fables  nouvelles  (1773),  97. 

Dore,  Gustave,  142-145. 

Drawings,  Original,  203a-203b,  212. 

Drouet,  93. 

Duclos,  94. 

Duerer,  Albrecht,  51-54. 

Du  lac,  E„  260. 

Du  Maurier,  George,  180,  188. 

Dupreel,  103. 


E 

Eaton,  W.  P.,  New  York  (New  York,  1915),  259. 

Egan,  Pierce,  Life  in  London  (1822),  247;  Real  life 
in  London  (1829-30),  248. 

Egenolph,  C.,  59a  note. 

Eisen,  C.,  92. 

English.  See  British. 

English  rustic  pictures,  193. 

Engraving.  Line,  British,  19th  century,  23-24,  26, 
109;  Flemish,  31;  French  (18th  century),  89— 
106,  (19th  century),  27-108;  German,  18th  cen- 
tury, 107;  Italian,  15th-16th  centuries,  28,  30, 
34;  United  States,  19th  century,  15-17,  20-22, 
111-113,  205. 


Engraving,  Wood.  See  Wood  engraving. 

Espanoles  pintados  por  si  mismos  (1843-44),  139. 
Etchings,  British,  114,  121;  French,  89-106,  115-118, 
120;  German,  107,  109;  United  States,  17. 
Evans,  Edmund,  251-254. 


F 

Faber,  F.  W.,  Pilgrims  of  the  night  (New  York, 
1884),  206. 

Fenn,  Harry,  205. 

Fessard,  93. 

Feyerabend,  S.,  31. 

Fidus,  162. 

Finden,  E.,  23. 

Fisher,  J.,  24. 

Flameng,  Leopold,  115. 

Forget  me  not  (1849),  19. 

Foster,  Birket,  189. 

Fragonard  fils,  104. 

Fran<;ais  peints  par  eux-memes  (1841-42),  138. 
France,  Anatole,  Filles  et  gar;ons,  262. 

Frederick  the  Great,  CEuvres,  157. 

Frellon,  I.,  60. 

French,  E.  D.,  112. 

French  illustration,  4,  9-11,  13;  ISth-  16th  centuries, 
69-88;  18th  century,  89-106;  19th  century,  27, 
122-131,  134-138,  140-150,  262. 

Frost,  A.  B.,  226. 


G 

Gaber,  A.,  153,  155. 

Gafori,  F.,  Musice  actionis,  2. 

Garreau,  102. 

Garrett,  E.  H.,  206. 

Gavarni,  129-131,  138,  146-147. 

Gem  of  the  season  (1846),  18. 

Gems  of  beauty,  26. 

Gering,  Udalr.,  73. 

German  illustrations,  5-7,  9;  15th-16th  centuries,  45- 
64;  18th  century,  107;  19th  century,  151-166, 
263. 

Gessner,  S.,  CEuvres,  99. 

Giacomelli,  H.,  141. 

Gibson,  W.  H.,  207. 

Gigoux,  Jean,  135. 

Gilbert,  Sir  John,  194. 

Giunta,  L.  A.,  44. 

Godey’s  Lady’s  Book,  22. 

Goethe,  J.  W.  von,  Faust,  122,  160. 

Golden  Legend  (1484),  66-66a. 

Goldsmith,  Oliver,  The  hermit,  212;  History  of  Eng- 
land, 171. 

Good  words,  185-186. 

Goodall,  E.,  24,  109. 

Goodhue,  B.  G.,  238. 

Goodrich,  A.  G.,  The  Token,  16. 

Gothaischer  Hof  Kalender  (1790),  107. 

Graf,  Urs,  55. 

Grandville,  J.  J.,  140. 

Gravelot,  91,  95. 

Greenaway,  Kate,  251-252. 

Green-Wood  illustrated,  21. 


H 

Halbou,  L.  M.,  105. 

Half-tones,  181  note,  214-219;  in  color,  255-258,  260. 
Hardouin,  Germain,  80-82. 

Hardouin,  Gilles,  78,  82,  84. 


40 


THE  NEW  YORK  PUBLIC  LIBRARY 


Hariot,  Thomas,  America,  part  1,  31. 

Harper  Bros.,  201. 

Harris,  Joel  Chandler,  226.' 

Harvey,  William,  173-174. 

Hatch,  G.  W„  15. 

Havard,  H.,  La  Hollande  a vol  d’oiseau  (1881),  148. 
Haydon,  B.  R.,  173. 

Heath,  Charles,  26. 

Herrick,  H.  W.,  18. 

Heures,  70-87. 

Highways  and  byways,  133. 

Higman,  N.,  85. 

Hinshelwood,  R.,  21. 

Histoire  du  Bonhoipme  Misere  (1877),  120. 
Hitchcock,  L.  W.,  214. 

Hofmannsthal,  Hugo  von,  Der  weisse  Facher  (1907), 
242. 

Holbein,  Hans,  60-62. 

Hoogland,  William,  15. 

Hooper,  W.  H.,  241. 

Hors,  70-87. 

Hoskin,  R„  207. 

Houghton,  A.  B.,  190. 

Hours,  Books  of,  70-87. 

Huber,  Konrad,  132. 

Huet,  J.  B.,  104. 

Hypnerotomachia,  42—43. 


I 

L’lmage  (1896-97),  150. 

Inman,  Henry,  15. 

Insel-Verlag,  242. 

Ipsen,  L.  S-,  236. 

Irving,  Washington,  History  of  New  York,  204. 
Isabey,  Eugene,  126. 

Italian  illustration,  1-3,  32-44. 


J 

Jennings’  Landscape  annual  (1835),  24. 

Jerrold,  Douglas,  Mrs.  Caudle’s  curtain  lectures,  195. 
Johannot,  Tony,  134,  136. 

Josephus,  Hystoire  de  la  bataille  judaique,  69. 

Judd’s  Margaret  (1856),  132. 

Juengling,  Frederick,  210,  212. 


K 

Kaspara,  Kresby  Adolfa,  266. 

Keats,  John,  Lamia  (Philadelphia,  1885),  234. 
Keene,  Charles,  195. 

"Keepsakes,”  15-27. 

Keller,  A.  I.,  218-219. 

Kelly,  J.  E„  210-211. 

Kerver,  Jacques,  43. 

Kerver,  Thiclman,  76,  79,  83. 

Ketham,  J.,  Fasciculo  de  medicina  (Venice,  1493),  40. 
Kleist,  H.,  Der  zerbrochene  Krug  (1877),  159. 
Klinger,  Max,  119. 

Knoblouch,  I.,  55. 

Koberger,  Anton,  47-48,  52  note. 

Konewka,  Paul,  160. 

Krctzschmar,  Eduard,  158. 

Kuglcr,  F.,  Pictorial  history  of  Germany  (1845),  156. 


L 

Laborde,  B.  de,  Choix  de  chansons  (1773),  98. 

La  Farge,  John,  208-209. 

La  Fontaine,  Contes  (1762),  92;  Fables  (1765-75), 
93;  CEuvres  (1814),  106. 

Lafreri,  Antonio,  30. 

Laistre,  Remy  de,  77. 

Lalanne,  Maxime,  148. 

Lane,  E.  W.,  Arabian  nights,  174. 

Larsson,  C.  O.,  264. 

Lauenburger  Kalender  (1779),  107. 

Launay,  N.  de,  99-100. 

Launay,  R.  de,  le  jeune,  99. 

Le  Barbier,  98,  103. 

Le  Bas,  102. 

Lefler,  H.,  165,  263. 

Le  Gouaz,  Y.,  97. 

Legros,  Alphonse,  120. 

Leloir,  Louis,  115-116. 

Le  Mire,  N.,  94-95. 

Lepere,  Auguste,  149-150. 

Le  Prince,  J.  B.,  96. 

Le  Sage,  A.  R„  Gil  Bias  (1838),  135. 

Leslie,  Frank,  204. 

Lewis,  Allen,  243a. 

Lilien,  E.  M.,  164. 

Line  engraving.  See  Engraving. 

Linton,  W.  J.,  178. 

Lithographs,  French,  122-131;  United  States,  19-20, 
132-133. 

London  society,  184. 

Low,  W.  H.,  234. 

Lowell,  J.  R.,  The  courtin’,  218. 

Luther,  Martin,  59  note. 

Lutzelburger,  Hans,  60-61. 

Lydgate,  John,  Fall  of  princes  (1527),  68. 


M 

MacVeagh,  Mrs.  Charles,  Fountains  of  Papal  Rome, 
243. 

Magnolia  (1855),  20. 

Mahoney,  James,  198. 

Mallermi,  Nic.,  Biblia  (1490),  41. 

Malory,  Sir  Thomas,  King  Arthur  (1893-94),  231. 
Manutius,  Aldus,  42. 

Maps,  28-31. 

Marillier,  C.  P.,  97,  99. 

Marsh,  Henry,  208-209. 

Martenasi,  91. 

Martin,  Jean,  43. 

Martin,  John,  1 10. 

Martini,  P.  A.,  101a. 

Masquelier,  98. 

Maximilian,  Emperor,  Prayerbook,  54,  57-58. 
Mayhew,  E.,  Good-for-nothing  (1838),  114. 
Meissonier,  J.  L.  E.,  137. 

Mela,  Pomponius,  Cosmographia,  29. 

Menzel,  Adolf,  156-159. 

Meredith,  George,  The  old  Chartist,  181. 

Metal  cuts,  66a  note;  note  preceding  70;  note  pre- 
ceding 89. 

Mezzotint,  17-20,  110. 

Michelet,  Jules,  Oiseau  (1867),  141. 

Microcosm  of  London  (London  [1808]),  246. 

Millais,  Sir  J.  E„  178-179,  186,  191-192. 

Millet,  J.  F„  117. 

Milton,  John,  L’Allegro,  257;  Paradise  lost,  110. 
Miniatures  imitated,  69,  82,  82  note. 

Missals,  Italian,  44. 

Moliere,  J.  B.  P.  de,  Works,  illustrated,  90,  115-116, 
134. 


ILLUSTRATED  BOOKS  OF  THE  PAST  FOUR  CENTURIES  41 


Monnet,  C.,  93—94. 

Monsiau,  105. 

Montaut,  G.  X.,  27. 

Montulay,  93. 

Monvel.  See  Boutet  de  Monvel. 

Moreau,  J.  M.,  le  jeune,  100-102,  106. 

Morris,  William,  241. 

Mote,  W.  H.,  26. 

Mother  Goose,  261. 

Mowbray,  H.  S.,  217. 

Mueller,  H.,  157. 

Muenchener  Bilderbogen,  152. 

Musaeus,  J.  K.  A.,  Die  Buecher  der  Chronika  der 
drei  Schwestern,  263;  Rolands  Knappen  (1898), 
165. 


N 

Nasmyth,  A.,  23. 

Nerval,  Gerard  de,  Silvie  (1886),  118. 

Nesbit,  171. 

Neureuther,  Eugen,  151. 

New  York  Mirror,  202. 

Nibelungen  Noth  (1843),  151. 

Nitschewitz,  H.,  49a. 

Nouum  Beate  Marie  Virgis  Psalterium  (Tsinna, 
1496),  49a. 

Nuremberg  Chronicle,  48. 


o 

Once  a week,  180—183. 

Opal  (1844),  17. 

Ovid,  Metamorphoses,  89,  94,  105. 

Oxford  University,  History  (London:  R.  Acketmaiitt, 
1814),  245. 


P 

Parables  of  our  Lord  (1864),  191-192. 

Parris,  E.  T.,  26. 

Parrish,  Maxfield,  257-258. 

Passional  Christi  (1521),  59. 

Passionis  Christi,  53,  55-56,  59,  63. 

Pasti,  Matteo  de,  33. 

Patas,  101. 

Pauquet,  108. 

Pelton,  O.,  20. 

Pen-and-ink  work,  156,  220—232. 

Pennell,  Joseph,  133,  225. 

Perrault’s  Contes  (1862),  143. 

Petrarch,  Von  der  Artzney . . . (1532),  59a. 
Pfintzing,  Melchior,  Theuerdank,  57. 
Phillibrown,  T.,  111. 

Phillips,  A.  A.,  Forget  me  not,  19. 

Photography,  159,  211  note. 

Photomechanical  processes.  Sec  Process  work. 
Picart,  B.,  89. 

Pictorial  album  (1837),  25. 

Pictures  of  English  landscape  (1862),  189. 
Picturesque  America  (New  York  [1872]),  205. 
Pigouchet,  Philippe,  70—72,  82  note. 

Pinwell,  G.  J.,  193,  197a. 

Pleydenwurff,  Wilhelm,  48. 

Plutarch,  Vitae  (1496),  3. 

Pochhammer,  Paul,  Dantekranz,  163. 

Poets  of  the  19th  century  (1857),  179 
Ponce,  N.,  97. 

Prayer  Book  (Duerer),  54. 

Pre-Raphaelites,  178  note,  192  note. 


Process-work,  214-219,  233-235,  237,  note  preceding 
241;  Color,  255-258,  260-261,  263-266. 

Psalter,  49a. 

Ptolemy,  Cosmographia,  28. 

Pugin,  A.,  245-246. 

Punch  and  mallet  work,  28. 

Pushkin,  A.  S.,  The  golden  cock  (1907),  265 
Puss  in  boots,  152. 

Putnam,  204. 

Pychore,  J.,  77. 

Pyle,  Howard,  213,  220,  255. 

Pynson,  Richard,  68. 


R 

Racine,  J.,  (Euvres  (1768),  95. 

Rackham,  Arthur,  261. 

Ratdolt,  Erhard,  29. 

Read,  W„  248. 

Recuyles  of.  the  Hystoryes  of  Troye  (1503),  67. 
Regnault,  F.,  87. 

Reinhart,  C.  S.,  224. 

Remade,  Gilles,  76. 

Remboldt,  Berth.,  73. 

Rethel,  Alfred,  154. 

Reuwich,  E„  46,  48  note. 

Rhead,  G.  W.,  Frederick,  and  Louis,  240. 

Richardson,  Abby  S.,  Songs  from  the  old  dramatists 
(1873),  209. 

Richardson  & Cox,  203. 

Richter,  Ludwig,  153. 

Ridinger,  200. 

Ringmann,  M.,  Passionis  Christi,  55. 

Ritchie,  A.  H.,  19. 

Riverside  magazine,  208a. 

Roberts,  David,  24. 

Roettinger,  H.,  Hans  Weiditz,  59a. 

Rogers,  Samuel,  Italy,  109;  Poems  (1814),  172. 
Romanticism,  122—124,  134-137. 

Roscoe,  Thomas,  Tourist  in  Spain,  24. 

Rossetti,  Christina,  Goblin  Market,  Prince’s  Progress. 
176. 

Rossetti,  D.  G.,  175-177,  178  note;  Blessed  damozel 
(New  York,  1886),  235. 

Rousseau,  J.  J,,  Oeuvres  (1774-83),  100. 
Rowlandson,  Thomas,  246,  249. 

Rubaiyat  (Boston,  1884),  233. 

Rudaux,  E.  A.,  118. 

Russian  illustration,  265. 

Ruzicka,  Rudolph,  243,  259. 


s 

Saint-Pierre,  J.  H.  B.  de,  Paul  et  Virginie  (1838), 
137. 

Sandys,  Frederick,  181,  187. 

Sartain,  John,  18. 

Sattler,  Joseph,  166. 

Savonarola,  59  note. 

Scenes  de  la  vie. . .des  animaux  (1842),  140. 
Schaeuffelein,  H.  L.,  57,  63. 

Schatzbehalter,  47. 

Schedel,  H.,  Liber  chronicarum,  48. 

Schnorr  von  Carolsfeld,  Julius,  151,  155. 

Schoen,  57. 

Schopperus  De  omnibus  illiberalibvs. . .artibus. . 64. 
Schwind,  Moritz,  Ritter  von,  152. 

Scott,  Walter,  Waverly  novels,  23. 

Scribner’s  magazine,  213,  215. 

Scribner’s  monthly,  210. 

Select  fables,  Bewick  (1784),  167. 


42 


THE  NEW  YORK  PUBLIC  LIBRARY 


Shakespeare,  Works  illustrated,  123-124,  194,  260. 
Ship  of  fools,  SO. 

Shirlaw,  W.,  212. 

Silhouettes,  160. 

Simms,  W.  G.,  The  scout,  203~203a . 

Simonet,  101a. 

Simulachres de  la  mort,  Holbein,  61. 

Sixties,  men  of  the,  175-198. 

Smedley,  W.  T.,  216. 

Smillie,  James,  21. 

Smith,  Albert,  Gavarni  in  London  (1849),  146. 

Smith,  F.  H.,  237. 

Smith,  S.  L.,  113. 

Sonnets  et  eaux -fortes,  117. 

Spanish  illustrations,  139. 

Stadler,  J.  C.,  245. 

Stassen,  Franz,  163. 

Steel  engraving.  See  Engraving  (Line). 

Sterner,  A.  E.,  223. 

Stothard,  Thomas,  109  note,  172. 

Strang,  William,  121. 

Suite  d’estampes  pour  servir  a l’histoire  des  moeurs, 

101. 

Supplementum  Chronicarum,  37. 

Swain,  181-183,  188,  197a. 

Swedish  illustration,  264. 


T 

Talisman  (1830),  15. 

Tasso,  Jerusalem  delivree  (1803),  103. 

Taylor,  Baron,  Voyages  pittoresques,  125-126. 
Taylor,  Tom,  Pictures  of  English  landscape,  189. 
Tenniel,  Sir  John,  175  note,  196. 

Tennyson,  Poems  (Moxon,  1857),  177-178;  Enoch 
Arden  (Boston,  1866),  208. 

Testa,  P.,  89. 

Text  engraved  on  copper,  93,  98. 

Thackeray,  W.  M.,  Henry  Esmond,  255. 

Theuerdank,  57. 

Thomson,  Hugh,  228. 

Thornbury,  G.  W.,  Historical  and  legendary  ballads, 
197-197a. 

Thousand  and  one  nights,  174,  190,  258. 

Tile  Club  (Boston,  1887),  237. 

Tint  blocks  in  wood  engraving,  146,  202.  See  also 
Color  work. 

Token  (1838),  16. 

Tory,  Geoffrey,  88. 

Traut,  57. 

Trcchsel,  61. 

Treitz-Saurwein,  M.  v.  E.,  Weiss  Kunig,  58. 

Triere,  Ph.,  106. 

Tucker,  E.  E.,  22. 

Tuppo,  Francesco,  35. 

Turner,  J.  M.  W.,  109. 

Turrecremata,  Job.  de,  Meditationes,  32. 


u 

Ulliac-Tremadeure,  Sophie,  Beaute  morale,  27. 
Unzelmann,  Fr.,  157. 

Updike,  D.  B.,  238. 

Urban,  Josef,  165,  263. 


V 

V.,  B„  87. 

Vallumbrosa  Missal,  44. 

Valturius,  De  re  militari,  33. 

Van  Dyke,  Henry,  A lover  of  music,  215. 

Van  Rensselaer,  Mrs.  Schuyler,  English  cathedrals 
(London,  1893),  225. 

Varley,  R.,  219. 

Vedder,  Elihu,  233. 

Verard,  Antoine,  4,  69,  74-75,  77. 

Vierge,  D.,  232. 

Virgil,  Bucoliques  (1806),  104. 

Vogel,  A.,  157. 

Vogel,  Hermann,  161. 

Vogel,  O.,  157. 

Voragine,  J.  de.  Golden  legend,  66-66a. 

Vostre,  Simon,  70-73,  82  note,  85-86. 


w 

Walker,  Frederick,  184—185. 

Warner,  C.  D.,  Their  pilgrimage  (New  York,  1895), 
224. 

Wash  drawings.  See  Brushwork. 

Weiditz,  Hans,  59a. 

Weiss-Kunig,  58. 

Westall,  R.,  25. 

Whistler,  J.  A.  M.,  182-183,  197. 

White,  John,  31. 

White  line,  167  note,  171  note,  200  note. 

Whitney,  Jocelyn  & Annin,  203. 

Whymper,  Edward,  Scrambles  amongst  the  Alps 
(1871),  198. 

Willis,  N.  P„  Opal,  17. 

Willmann,  Ed.,  108. 

Willmott,  R.  A.,  Poets  of  the  19th  century  (1857), 
179. 

Wolgemut,  Michel,  46  note,  47-48. 

Wood,  C.  E.  S.,  Maia  (Portland,  1918),  227. 

Wood-engraving  imitating  copper-plate  work,  173, 

201. 

Wood  engravings,  British  (15th-16th  centuries),  65- 
68,  (19th  century),  167-198,  241-242,  251-254; 
French  (15th-16th  centuries),  69-88,  (19th  cen- 
tury), 134— 138,  140-150;  German  (15th-16th  cen- 
turies), 45-64,  (19th  century),  151-166;  Italian, 
32-33,  35-44;  Spanish,  139;  U.  S.,  18,  199-213, 
239,  243-243a,  259. 

Worde,  Wynkyn  de,  67. 


I 


